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containing  7 times  the  quantity 
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containing  10  times  the  quantity 
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CRIMSON  ALUAR'N 
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SCARLET  VERMILION 
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ARTISTS’  PRICE,  2/-  EACH  NET, 
containing  10  tlmeB  the  quantity 
of  the  ordinary  tube. 

COBALT 

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ROSE  MADDER 
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GREEN 

ARTISTS’  PRICE,  4/6  EACH  NET, 
containing  10  times  the  quantity 
of  the  ordinary  tube. 

CADMIUM,  PALE,  YELLOW  OR  ORANGE 

ARTISTS’  PRICE,  6/6  EACH  NET. 

These  Colours  are  made  of  the  Best  Materials  only. 
Manufactured  by  GEORGE  ROWNEY  & CO.,  64  Oxford  Street,  London.  W. 

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Royal  Naval  College,  March  9,  1902 

jAston  Webb.  Esq.,  A.R.A.,  Architect 


Every  Branch  is  in  the  hands  of  Artists  of  reputation. 

Work  can  now  be  executed  in  London  under  the  direct  supervision  of  the  Architect. 

Reference  will  be  gladly  given  to  work  executed  in  any  of  these  Branches  of  Decorative 
Art  upon  application  to 

MR.  WALTER  GILBERT,  Secretary , 

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AD.  II 


Mr.  Wm.  Heinemann’s  New  Art  Books 


PINTORICCHIO  (Bernardino  di  Betto  of  Perugia) 

His  Life,  Work,  and  Time 
By  CORRADO  RICCI,  Director  of  the  Brera,  Milan 

Translated  by  Florence  Simmonds.  With  15  Colour-plates,  6 Photogravures,  and  many  full-page  and  text  Illustrations. 

Large  imp.  4to.  £5  5s.  net. 

WILLIAM  HOGARTH 

By  AUSTIN  DOBSON 

With  an  Introduction  on  Hogarth’s  Workmanship  by  Sir  Walter  Armstrong,  Director  of  the  National  Gallery,  Ireland.  With 
a Bibliography  of  Books,  Pamphlets,  &c. , relating  to  Hogarth  and  his  Works,  a Catalogue  of  Prints  by  or  after  Hogarth,  and 
a Catalogue  of  his  Pictures.  With  78  Plates.  Large  imp.  410.  £5  5s.  net, 

UNIFORM  "WITH  THE  ABOVE 

SIR  HENRY  RAEBURN.  By  Sir  Walter  Armstrong,  Director  of  the 

National  Gallery,  Ireland.  With  an  Introduction  by  R.  A.  M Stevenson,  and  a Bibliographical  and  Descriptive 
Catalogue  by  J.  L.  Caw,  Curator  of  the  National  Portrait  Gallery  of  Scotland.  With  68  Plates,  66  in  Pnotogravure,  and 
2 in  Lithographic  facsimile.  Imp.  4to,  ^5  5s.  net. 

SIR  JOSHUA  REYNOLDS.  By  Sir  Walter  Armstrong.  With  70 

Photogravures,  and  6 Lithographs  in  Colour.  Imp.  4to.  ^5  5s.  net. 


A NEW  SERIES  OF  PORTRAITS 


By  WILLIAM  NICHOLSON 

In  portfolio.  Uniform  with  the  first  set  of  Portraits.  Price  2ls.  net 


1.  QUEEN  ALEXANDRA  1 5.  SIGNORA  ELEANORA  DUSE 

2.  The  EMPEROR  of  GERMANY  6.  LI  HUNG  CHANG 

3.  THE  POPE  j 7.  LORD  KITCHENER 

4.  PRESIDENT  ROOSEVELT  j 8.  MR.  CHAMBERLAIN 


9.  MR.  EDISON 

10.  SADA  YACCO 

11.  MARK  TWAIN 

12.  DR.  HENRIK  IBSEN 


A few  sets  of  the  Plates  have  been  taken  from  the  Original  Woodblocks,  and  Hand. coloured  by  the  Artist 

Price  £2!  net 


London:  WILLIAM  HEINEMANN,  21  Bedford  Street,  W.C. 


A New  Enamelled  Copper  Ware. 

Professor  HUBERT  von  HERKOMER,  C.V.O.,  R.A.,  has  succeeded, 
after  many  experiments,  in  producing  a new  kind  of  Enamelled  Copper  Ware. 
It  consists  of  vases,  with  figure  subjects  wrought  on  the  surface  of  the  vase  in 
a peculiar  form  of  engraving,  so  that  the  figures  glimmer  through  the  translucent 
enamel  that  covers  the  surface. 

In  this  way  he  has  been  able  to  combine  firm  drawing  with  accidentalness 
of  colour,  and  so  to  give  them  that  charm  which  is  so  much  appreciated  by  artists. 

The  designs  are  of  subjects  connected  with  the  fanciful  mermaid  myth,  and, 
to  borrow  a term  used  in  the  sister  art  of  Music,  they  can  with  great  exactness 
be  termed  “rhapsodies.” 

The  peculiar  treatment  of  the  surface  under  the  enamel  causes  every  change 
of  light  on  the  vases  to  bring  out  new  qualities  of  colour,  yet  with  all  the  mystery, 
the  complete  drawing  of  the  figures  is  never  obscured. 

As  this  ware  takes  considerable  time  in  the  making  (the  fine  copper  being 
electrolytically  produced),  and,  as  its  appeal  is  essentially  to  the  taste  of  art-lovers, 
Professor  von  Herkomer  does  not  wish  it  to  he  placed  on  the  market  in  the 
ordinary  way. 

Those  interested  in  this  particular  phase  of  the  applied  arts,  should  write  to 
Mr.  C.  R.  CH1SMAN,  Bushey,  Herts,  who  will  be  very  pleased  to  supply 
further  information,  or  show  specimens  of  the  work. 


AD  III 


ARTISTS  OF  THE 
MODERN  SCHOOL 

PENDANTS 

of  original  conception 
with  beautifully 
marked  Matrix  Tur- 
quoises in  centre,  and 
baroque  shaped 
Pearl  drops 


The  Matrix  Turquoise  with  its  pretty  colour  effect 
of  azure-blue  relieved  by  the  grey  or  black  veins 
of  the  bed-rock  gives  admirable  scope  for  artistic 
treatment  and  has  become  very  fashionable 


■J 


BROOCH 


NECK  CHAIN  AND  PENDANT 
with  triangular  slab  of  Matrix 
Turquoise  in  centre  and  3 real 
Pearl  Drops.  Cleanly  mounted  in 
solid  15  carat  Gold 


QUAINT  DESIGN 
of  BROOCH  with 
Matrix  Emerald  or 
Turquoise  and 
baroque  shaped 
Pearl  droo,  mounted 
in  solid  15  carat  Gold 


Modern  design  of 
a Locket,  with  Matrix 
Opal  in  centre, 
and  neatly  mounted 
in  15  carat  Gold 


Smartly  mounted  in  15  carat 
Gold,  set  with  two  f'ne 
Persian  Turquoises  and 
four  Pearis 

BROOCH 


Obtainable  through 


These  Designs  are  the 
Property  of  and  made  up  by 
MURRLE,  BENNETT  & Co. 


high-class 


Very  quaint  design 
well  modelled  in 
solid  Silver  and  Gold 
vith  the  bowl  shaped 
centre  portion  treated 
in  Rainbow  Coloured 
flat  Enamel,  and 
set  with  two  fine 
Opals 


13  Charterhouse  Street 

LONDON,  E.C. 


Jewellers 


AD.  IV 


Messrs.  BELL’S  ILLUSTRATED  ART  BOOKS 


ILLUSTRATED  CHRISTMAS  LIST  POST  FREE  ON  APPLICATION 


THE  ART  OF  WALTER  CRANE.  By  P.  G. 

Konody.  With  20  Coloured  Plates,  8 Photogravure  Plates, 
and  150  other  Illustrations.  Small  folio,  with  cover,  title-page, 
and  end-papers  specially  designed  by  ihe  Artist.  £3  3s.  net. 

FRANS  HALS.  By  the  Rev.  G.  S.  Davies,  M.A. 
With  12  Photogravure  Plates  and  numerous  other  Illus- 
trations. Fcap.  folio.  £2.  2s.  net. 

HUBERT  VON  HERKOMER,  R. A.  HIS  LIFE 

AND  WORKS.  By  A.  L.  Baldry.  Super  royal  4to,  with 
16  Photogravure  Plates  ana  92  other  Illustrations  With 
Binding  designed  by  Prof,  von  Herkomer.  £2,  3s.  net. 

ANTHONY  VAN  DYCK.  A Historical  Study  of  his 
Life  and  Works.  By  Lionel  Oust,  M.V.O..  F.S.A. 
Surveyor  of  the  King’s  Pictures  and  Works  of  Art.  With  61  j 
Photogravure  Plates  and  20  Collotype  and  other  Reproduc-  i 
tions  Irom  Drawings  and  Etchings.  Crown  folio.  ^5  5s.  net.  j 

DANTE  GABRIEL  ROSSETTI:  An  Illustrated 
Memorial  of  His  Art  and  Life.  By  H.C.  Marillier, 
Second  edition,  abridged  and  revised,  with  15  Photogravure 
Plates  and  100  other  Illustrations.  Small  folio.  £2  2s.  net.  j 

REMBRANDT  VAN  RUN  AND  HIS  WORK.  By 

Malcolm  Bell.  With  8 Photogravure  Plates  and  740ther 
Illustrations.  Small  colombier  8vo.  25s.net. 

FRA  ANGELICO.  By  Langton  Douglas.  Second 
edition,  revised.  With  6 Photogravure  Plates  and  67  other 
Illustrations.  Imp.  8vo.  21s.  net. 

FRA  FILIPPO  LIPPI.  By  Edward  C.  Strutt. 
With  4 Photogravure  Plates  and  52  other  Illustrations. 
Small  4to.  12s.  fid.  net. 

FRENCH  PAINTERS  OF  ~THE  XVIIIth  CEN- 

TURY.  By  Lady  Dilkk.  With  n Photogravure  Plates, 
and  64  Half-Tone  Illustrations.  Imp.  8vo.  28s.  net. 

FRENCH  ARCHITECTS  AND  SCULPTORS  OF 

THE  XVIIIth  CENTURY.  By  Lady  Dilke.  With  20  [ 
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Imp.  8vo.  28s.  net.  - 

FRENCH  DECORATION  AND  FURNITURE  IN 

THE  XVIIIth  CENTURY.  By  Lady  Dilke.  With  16 
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8vo.  28s.  net.  

FRENCH  ENGRAVERS  AND  DRAUGHTSMEN 
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Imp.  8vo.  28s.  net.  

THE  STUDY  AND  CRITICISM  OF  ITALIAN 
ART.  By  Bernhard  Berenson.  W it h numerous  Illustra- 
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LORENZO  LOTTO.  An  Essay  in  Constructive  Art 
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FREDERIC,  LORD  LEIGHTON.  An  Illustrated 
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THOMAS  GAINSBOROUGH  : His  Life  and  Works. 
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WILLIAM  MORRIS:  His  Art,  His  Writings,  and 
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British  Artists  Series 

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SIR  JOSHUA  REYNOLDS,  P.R.A.  By  Lord 
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SIR  EDWARD  BURNE-JONES,  Bart.  A Record 
and  Review.  By  Malcolm  Bell.  Eighth  Edition. 
FREDERIC,  LORD  LEIGHTON,  P.R.A.  An  Illus- 
trated Chronicle.  By  Ernest  Rhys.  With  a Chapter  on 
Leighton’s  House  by  S.  Pepys  Cockerell.  Fourth  Edition 
SIR  J.  E.  MILLAIS,  Bart.,  P.R.A.:  His  Art  and 
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THE  ENGLISH  PRE-RAPHAELITE  PAINTERS, 
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Ex-Libris  Series 

Edited  by  GLEESON  WHITE. 

ENGLISH  BOOK-PLATES:  Ancient  and  Modern 
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FRENCH  BOOK-PLATES.  By  Walter  Hamilton, 
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Edition.  Crown  8vo.  5s. 

MODERN  ILLUSTRATION:  Its  Methods  and 

Present  Condition.  By  Joseph  Pennei.l.  With  171 
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Bell’s  Handbooks  of  the  Great  Masters  in  Painting  and  Sculpture 

Edited  by  G.  C.  WILLIAMSON,  Litt.D. 

Post  8vo.  With  40  Illustrations  and  a Photogravure  Frontispiece.  Price  5s.  net  each 


The  following  Volumes  have  been  issued : 


BKRNARDINO  LUI.NI 

CORREGIO 

MEMLINC 

REMBRANDT 

VELASQUEZ 

DONATELLO 

PIERO  DELLA  FRANCESCA 

GIOTTO 

ANDREA  DEL  SARTO 

PERUG1NO 

PINTORICCHIO 

Wll.KIE 

LUCA  SIGNORELLI 

SODOMA 

FRANCIA 

GERARD  DOU 

RAPHAEL 

LUCA  DELLA  ROBBIA 

BRUNELLESCHI 

WATTEAU 

CARLO  CRIVELLI 

GIORGIONE 

MANTEGNA 

Others  to  follow. 

London:  GEORGE  BELL  & SONS,  YORK  STREET,  COVENT  GARDEN 

AD.  V 


OBACH  AND  CO. 

168  New  Bond  Street,  LONDON,  W. 


Corot 


SELECTED  DRAWINGS  AND  PAINTINGS 

By  COROT,  MILLET,  Daubigny,  Dupre,  Troyon,  Diaz,  Fantin, 
Harpignies,  Monticelli,  Jacque,  &c.  &c. 

BRONZES  by  Barye. 

ORIGINAL  ETCHINGS  by  Rembrandt,  Durer,  The  Little  Masters, 
Meryon,  Corot,  Millet,  Whistler,  Seymour  Haden,  Cameron,  &c.  &c. 

Etchings  after  the  Great  Masters  of  all  Schools. 


AD.  VI 


Charles  Hauff 

69  GREAT  RUSSELL  STREET, 
LONDON,  W.C. 

(OPPOSITE  BRITISH  MUSEUM.) 

AGENT  TO 

BRAUN,  CLEMENT  & CO. 

DORNACH.  PARIS.  NEW  YORK. 

PUBLISHERS  IN 

AUTOTYPE 

OF  THE  VARIOUS 

GALLERIES  OF  EUROPE 


COROT.  MILLET. 

SPECIAL  COLLECTION  ON  VIEW. 


PARIS  SALON 


NEW  ART  FRAMES 

. . FLORENTINE  FRAMES 

69  GREAT  RUSSELL  STREET, 
LONDON,  W.C. 

(FACING  BRITISH  MUSEUM.) 


A SUMPTUOUS  VOLUME  OF  WOOD 
ENGRAVINGS 

Old  English  Masters 

Executed  by  W.  TIMOTHY  COLE. 

With  48  Illustrations,  after  the  Works  of  the  following 
18  Artists  ; Hogarth,  Reynolds,  Gainsborough,  Wilson, 
Lawrence,  Morland,  Landseer,  Cotman,  Romney,  Beechey, 
Hoppner,  Raeburn,  Opie,  Crome,  Leslie,  Wilkie,  Con- 
stable, and  Turner  ; and  Notes  on  the  Engravings  by 
Mr.  COLE,  and  Articles  on  the  Artists  by  Prof.  VAN 
DYKE.  Price  Two  G uineas  net. 

Also  an  Edition  de  Luxe,  of  which  only  40  copies  are 
offered  for  sale  in  this  country.  Printed  on  hand-made 
paper,  with  Two  magnificent  Portfolios  of  Proofs, 
measuring  17^  in,  by  14  in.,  containing  a Proof  of  every 
Engraving,  printed  on  Japanese  Paper,  signed  by  Mr. 
Cole  Price  Thirty  Guineas  net. 

IMPORTANT  NEW  WORK  BY 
WILLIAM  STRANG 

The  Adventures  of  Don  Quixote 

In  Thirty  Etchings,  by  William  Strang.  Foolscap 
folio,  printed  on  O.W.  hand-made  paper  by  F.  Goulding. 
The  edition  will  be  strictly  limited  to  200  copies.  £5  5s.  net. 

MACMILLAN  & CO.,  LTD.,  LONDON. 


AD.  VII 


Solid  Oak  Palm 
Stand,  with 
copper  bands,  30  in. 

high,  19s.  6d. 

36  in.  high,  £1  1 O 
42  in.  high,  £1  3 6 
48  in.  high,  £1  7 6 


Fine  Cut  Glass 
Puff  Box,  with 

richiy  chased  solid 
silver  top. 

17  in.  high,  2s.  lid.  ; 
2 in.,  3s.  lid.  ; 2}  in,, 
6s.  6d. 

in.  9s.  6d.  ; 3^  in. 

12s.  9d. 


OETZMANN  & CO. 

HAMPSTEAD  ROAD,  W. 

(Continuation  North  of  Tottenham  Court  Road.) 

60  & 61  GRAFTON  ST.,  DUBLIN.  75  UNION  ST  , RYDE. 

USEFUL  AND  DECORATIVE  NOVELTIES  SUITABLE  FOR  PRESENTS 

Special  illustrated  Price  List  Post  Free 


fpyjj 


Solid  Silver  Cruet,  pierced  desig 
with  blue  vlass  lining, 


fitted 


Polished  Brass 
Jardiniere, 

elegantly  finished,  5gin. 
high,  4t  in.  diameter  at 
top,  2s.  lid. 


Salt  Cellar, 
if  in.  long, 

6s.  6d. 


Mustard  Pot, 
i\  in.  high, 

8s.  9d. 


Solid  Silver 
“ Midget  ” 
Photo  Frame 

with  velvet  back, 

Is.  lid. 


Elegant  Wrought- 
Iron  Coal  Cauldron, 

very  strong,  yet  light  to 
carry,  with  polished  brass  or 
copper  band  round  body, 

5s.  lid. 

Coal  Tongs  to  match, 
black  and  brass,  is.  lid. 
per  pair  ; black  and  copper, 
2s.  6d.  per  pair. 


Sterling  Silver  “Queen  Anne” 
Afternoon  Tea,  Sugar,  and 
Cream  Service. 

Medium  size  set,  capacicy  of  Tea  Pot,  f pint, 

£2  18  6 

Large  si/e  set,  capacity  of  Tea  Pot,  i pint, 

£3  18  6 


Bevelled  Edge  Plate 
Glass  Table  Mirror 

in  Richly  Chased  Sterling 
Silver  Mounted 
F rame. 

Size  of  glass,  8 in.  diameter, 

ICs.  9d. 


Handsomely  Carved 
Chippendale  “Aquarium” 
Curio  Case,  with  pla'e  glass  top. 
sides,  and  shelf,  £3  7 6 


THE  HEW  PATEHT 


SIMPLE  IN  CONSTRUCTION 
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ABOVE  HEARTH  LEVEL 


THE  M05T  EFFICIENT 
£ ^ECONOMICAL  FIRE- 
PLACES INTRODUCED 
ARTISTIC  DE5IGN5  £ 
VARIOUS  ARRANGEMENT 
TO  BE  BEEN  AT  THE  ^ 
SHOW  ~ ROOMS 
WOOD  MANTELS  • STOVES  '•  TILES  -REPOUSSE  '•  WROT  IRONWORK : ETC 


BRATT = COLBRAM  £ 00 

IQ  MORTIMER  5T  LONDON  W 


J 


Al>.  VIII 


ROBINSON  & CLEAVER,  it  Belfast 

and  164,  166  and  170  REGENT  STREET,  LONDON,  W. 

Special  Appointments  to  His  Most  Gracious  Majesty  The  King  and  H.R.H.  the  Princess  of  Wales. 


Bordered — 
Children’s 
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per  doz. 

Is.  3d. 
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per  doz. 

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Irish  Cambric  Pocket 
Handkerchiefs. 

COLLARS— Ladies'  3-fold,  from  3s.  6d.  per  doz.  Gents'  4-fold,  4s.  lid.  per  doz.  CUFFS— For 

Linen  Collars.  Ladies  or  Gentlemen,  from  5S.  lid.  per  doz.  SHIRTS— Fine  quality  Longcloth,  with  4-fold  pure 

X ® eu;.4-l  Linen  Fronts,  35s.  6d.  per  half-dozen  (to  measure  as.  extra).  Old  Shirts  made  good  as  new,  with 

If  U ITS  »nir*S.  good  materials  in  neckband,  cuffs,  and  fronts,  for  14s.  the  half-dozen. 

. . IT  , _ . , Fish  Napkins,  2s.  lid.  per  doz.  Dinner  Napkins,  5s.  6d.  per  doz.  Table  Cloths, 

Irish  DamaSK  ■ aole  2 yds.  square,  2s.  6d.  ; 2j  yds.  by  3 yds.  5s.  6d.  each.  Kitchen  Table  Cloths,  lljd. 

_ U_llco  I in  An  each.  Strong  Huckaback  Towels,  4s.  6d.  per  doz.  Frilled  Linen  Pillow  Cases  horn 

34011  nuuac  fcuion'  Is.  4Id.  each.  Monograms,  Crests,  Coats-of-Arms,  Initials,  etc.,  woven  and  embroidered. 

[f'B. To  prevent  delay  all  Letter  Orders  and  inquiries  for  Samples  should  be  sent  direct  to  Belfast.  Samples  & Price  Lists  post  Free. 


METAL 

CASEMENTS 

and  Leaded  Lights 

Send  for  Catalogue  Number  5. 

Henry  Hope  <S  Sons, 

Ltd., 

55  Lionel  Street, 

Birmingham. 


Awarded  Gold  and  Silver  Medals  at  the  Paris  Exhibition  1900 


The  Printing  Arts  Co.  L’d. 

* * * * 

MAKERS  OF 

PLATES  AND  BLOCKS 

BY 

PHOTOGRAVURE 
THREE-COLOUR 
ORLOFF  MULTI-COLOUR 
HALF-TONE  AND 
LINE  PROCESSES 


IDesioners,  photographers,  JEngravcrs,  printers,  publishers 


Holbein  House, 


119,  121,  123  SHAFTESBURY  AVENUE,  LONDON,  W.C. 


AD.  IX 


Che  Ballantpnc  press 

1796- 1 90  2 


Book  Printin 


PAUL’S  WORK,  EDINBURGH 
14  TAVISTOCK  STREET,  LONDON,  W.C. 


WlLLIAttS  BROS  SO- 


PEPPER  & CO. 


Casements  ^ 
& Lead  Lights. 


81,  Ended  Street,  Bloomsbury,  W.C. 

Works:  KALEYARDS,  CHESTER. 
Lead  Lights,  Stained  Glass  and  Casements. 


CATALOGUES,  DESIGNS  AND  PRICES  ON  APPLICATION. 


AD.  X 


Mr 


r — 

Catalogues  of  any 
of  the  d* 
following  free 
upon  application 


Old  English 
Garden  Seats 
and  Tables 


A BOOK  OF  FURNITURE 

Designed  by  Mr.  H.  BAILLIE  SCOTT 

Manufactured  by  and  now  to  be  obtained  from 


JOHN  P.  WHITE,  The  Pyghtle  Works 


BEDFORD 


Garden 

Treillage 

including 

Pergolas 
Summer- 
houses 
Sundials 
Dovecotes  and 
Palm  Boxes 


Carriage  and 
Hand  Gates 


Wood 

Chimney 

Pieces 


Orr’s  Patent 
Fruit  Storing 
Trays 


Containing 
specially 
colored 
plates 
reproduced 
in  facsimile 
from  the 
original 
water  color 
drawings  by 
Mr.  H. 
Baillie 
Scott 


Copies  map  be  obtained from 


Also 

upwards  of 
80  designs 
for  all  kinds 
of  furniture 
and 

some  notes  on 
furnishing 


JOHN  P.  WHITE,  W6e  VygOtle  Works,  BEDFORD 


Price  2s.  6d.  which  will  be  credited  off  the  first  order 


Interesting  Sale  of  the  Watercolour  Drawings 
of  James  Clark  and  the  late  Henry  A.  Harper 


This  beautiful  collection  consists  of  a large  number  of 
oil-paintings  and  water-colour  drawings,  executed  in  the 
Holy  Land  for  the  publications  of  the  Scripture  Gift 
Mission.  The  copyright  of  the  pictures  will  be  retained 
by  the  Trustees,  but  the  original  pictures,  some  of  the 
finest  views  of  the  Holy  Land,  in  water  colour  and  in 
monochrome,  are  now  offered  for  sale.  A number  of 
these  sketches  have  already  been  sold  for  the  benefit  of 
the  Mission  to  various  art  galleries  and  collectors.  The 
prices  of  the  drawings  range  from 

£2:2:0  to  £31:10:0 

THE  DRAWINGS  CAN  BE  INSPECTED  AT 
THE  SCRIPTURE  GIFT  MISSION  ANY  DAY 
BETWEEN  10  a m.  and  4 p.m.,  WHETHER  THE 
VISITOR  BE  A PURCHASER  OR  NOT  . . . 


A ST-REET  IN  JERUSALEM 

The  Scripture  Gift  Mission  ART  GALLERY  of  BIBLE  SCENES 


J r < 1 /-// nt!  1 nnrlnn  XV  C,  First  floor  over  Messrs.  Lodge  & Co. 

* YY  • • (next  door  West  of  Charing  Cross  Station) 


AD.  XI 


M C 


A SUMPTUOUS  GIFT-BOOK 


ENGLISH  * , 

, ^ WATER-COLOUR 

The  Separate  Parts  of  this  Work 
are  now  entirely  out  of  print  and 
no  further  complete  sets  can  be 
supplied  from  the  Offices  of ‘The 
Studio.’  A few  copies  only  ol 
parts  can  be  had,  price  5s.  each. 

4 £ £ 


COVER  DESIGN  FOR  THE  LIMITED  BOUND  EDITION 
OF  * ENGLISH  WATER-COLOUR.’ 


An  Edition  of  ‘ English  Water- 
Colour,’  bound  in  a specially 
designed  Cover,  with  the  plates  in 
chronological  order,  is  now  ready. 
This  Edition  is  strictly  limited  to 
200  Numbered  Copies,  and  only 
a few  now  remain.  Price  Two 
Guineas  net. 


The  Westminster  Gazette  says:  “‘The  Studio’s’  reproductions  are  undoubtedly  the  most 
successful  experiment  in  this  kind  of  colour  printing  that  has  yet  been  made  in  this  country.” 

f 

GREEN  CLOTH  BINDING  CASES  for  the 

EIGHT  PARTS  OF  "ENGLISH  WATER-COLOUR.”  including 
specially  designed  end-papers,  price  3s.  6d.,  postage  6d.  extra. 

CLOTH  BINDING  CASES  for  the  Summer 

Number,  1902,  ‘Modern  Etching  and  Engraving,’  uniform  with  Vols. 
of  ‘The  Studio,’  price  2s.  each,  postage  4d.  extra. 

* f * £ 

OFFICES  OF  ‘ THE  STUDIO’  **  LONDON  ^ 44  LEICESTER  SQ. 
PARIS  ^ 50  CHAUSSEE  D’ANTIN 


AD.  XII 


WAPLE  & CO  invite  those  unable  to  personally  visit  their  Exhibition  of  Christ- 
mas  presents,  to  write  for  an  early  copy  of  the  new  "P  B”  Book  of  Presents, 
in  which  will  be  found  numerous  designs  of  Suit  Cases,  Dressing  Bags,  Gladstone 
Bags,  Dressing  Cases,  Carriage  Companions,  Manicure  Cases,  Cigarette  and  Cigar 
Boxes,  Writing,  Card  and  Note  Cases,  Writing  Cabinets  and  Desks,  Post-Boxes, 
Spirit  and  Game  Cabinets,  Book  Troughs,  Whist  and  Bridge  Cases,  and  other 
articles  suitable  for  Complimentary  Gifts,  all  quoted  at  most  favourable  prices. 

MAPLE  & CO  MAPLE  & CO 


MAPLE  & CO 

Tottenham  Court  Road,  London;  & Paris 

exhibition  of  Christmas  presents 


Example  of  a 
GENTLEMAN  S 
SUIT  CASE 
in  Real  Cowhide,  lined 
pigskin,  with 
Silver  Fittings 


AD.  XIII 


Unique  Table  Linen. 

Exclusive 
Designs  by 
WALTER 
CRANE, 

LEWIS  F. 

DAY,  Dr. 

DRESSER, 

R.  ANN1NG 
BELL, 
and  other 
well=known 
Artists. 

ARTISTIC  WINDOW  DECORATION. 

Wilsons’  Selection  of  Curtains  and  Blinds  is 
unequalled  for  the  excellence  of  the  Designs 
most  of  them  their  exclusive  property  and 
the  very  moderate  of  the  Prices. 


ILLUSTRATION 
SHOWS  THE 
FAMOUS 
“ SENSES” 
DESIGN  BY 
WALTER 
CRANE. 

* * 

PRICES, 
Fine  Handloom 
Double  Damask 
Cloths, from  19/6 
Tea  Cloths  15/- 
Superfine 
Quality  Cloths, 
from  32/- 
Silk  and  Linen 
Cloths  from 

163  - 

Tea  Cloths  42/- 


STENCILLED  HANGINGS  & FRIEZES. 


Any  one  contemplating  the  alteration  of  an 
Interior,  or  the  Decoration  of  a House,  would 
do  well  to  let  Wilsons’  submit  sketches 
and  estimates  for  carrying  out  the  work  in 
the  best  style  of  Modern  Decorative  Art. 


ILLUSTRATED  CATALOGUE  FREE 


IrfS&IAEGEMTS! 

IVJUlondon,  w 

L/1TE  1 59  NEIT  ZIP/YD  St 


AD.  XIV 


COROT  AND  MILLET 


LIST  OF  SUPPLEMENTS 

CAMILLE  COROT 

“Portrait  of  Camille  Corot.”  A Reproduction  in  Photogravure 

“Environs  de  Rome,  1866.”  From  the  Original  Etching 

“ The  Pool.”  A Reproduction  in  Colours 

“The  Lake.”  A Reproduction  in  Photogravure 

“ Peasants  near  a Pool.”  A Reproduction  in  Tints 

“At  the  End  of  the  Valley.”  A Reproduction  in  Colours 

“View  of  Ville  d’Avray.”  A Reproduction  in  Photogravure 

“ L’Heure  Matinale.”  A Reproduction  in  Colours 

“The  Pathway  to  the  Church.”  A Reproduction  in  Colours 

JEAN  FRANCOIS  MILLET 

“Portrait  ot  J.  F.  Millet.”  From  the  Drawing  by  Himself 
“ Ver-Vert,  the  Parrot  of  the  Nuns.”  A Reproduction  in  Colours 
“The  Sower.”  From  the  Original  Lithograph 

“ A Shepherdess  Knitting.”  A Photogravure  after  the  Original  Etching 
“The  Happy  Family.”  In  Facsimile  of  the  Original  Drawing 
“The  Bather.”  A Reproduction  in  Tints 
“ La  Soupe.”  From  the  Original  Etching 
“ Carding  Wool.”  From  the  Original  Etching 
“ The  Woodsawyers.”  A Reproduction  in  Photogravure 
“ Gleaning.”  From  the  Original  Etching 
“A  Shepherdess  Seated.”  From  the  Original  Woodcut 
“ I he  Shepherdess.”  A Reproduction  in  Photogravure 


AD.  xv 


The  advantage  of 

HAMPTONS 

series  of  twenty  Departmental  Illustrated  Cata- 
logues is  that  they  afford  to  intending  Pur- 
chasers of  Furniture,  Carpets,  Furnishing 
Fabrics,  &c.,  the  satisfaction  of  assuring 
themselves  before  calling  to  make  their  selec- 
tions that  in  providing 

Best  Value  for  Money 
Hamptons’  productions 
remain  unsurpassed 

These  Catalogues  illustrate  the  latest  produc- 
tions in  every  article  required  for 

Completely  Furnishing 
Houses  in  the  most 
Tasteful  Manner  at 
the  Least  Expense. 

Any  one  or  more  of  these  books  cwitl  be  sent 
free,  on  the  receipt  of  the  necessary  par- 
ticulars of  the  applicant's  requirements. 

Hampton  u sons  Ip 
Pall-Mall  EasrbndonSW- 


and  backs  throughout  the  suite  ? 4ft.  Wardrobe,  3ft.  6in.  Dressing  Chest  and  Wash- 
stand,  all  with  coloured  inlaid  panels  and  oxydised  silver  handles,  Towel  Airer,  and 
two  stuffed'seat  Chairs,  £29  10s.  ; including  3ft.  6in.  Bedstead. 

One  of  the  special  features  of  this  suit  is  the  Drawers  at  the  side 
of  the  Wardrobe  and  Dressing  Chest. 

For  other  examples  of  best  current  values  in  Bedroom  Suites  see 
Hamptons'  New  Book , No.  B.  164,  sent  free  on  application. 

Every  Illustration  in  Hamptons’  Catalogues  is  a reproduction  of  a photograph 
made  direct  from  the  ;actual  article,  and  Customers  constantly  remark,  when 
personally  inspecting  in  the  Galleries  the  Furniture,  &c.,  which  they  had 
provisionally  selected  from  the  Catalogues,  that  these  books  were  of  the  greatest 
assistance  to  them  in  arriving  at  a decision  as  to  the  style  that  they  would  adopt  for 
each  room  respectively,  and  in  discovering,  by  comparison,  the  best  value  obtain' 
able  for  each  separate  item. 


FROM  MR.  MURRAY’S  LIST. 


THE  DRAWINGS  OF  FLOREN- 

TINE  PAINTERS  CLASSIFIED  AND 
DESCRIBED.  By  Bernhard  Berenson.  With  a 
copious  Catalogue  Raisunne  and  about  180  fac-imile 
Illustrations.  Two  vols.  Folio.  ^15  15s.  net. 

[A "eady  shortly. 

This  Edition  is  limited  to  355  copies  in  all  (105  for 
America  and  250  for  Great  Britain).  The  type  is  being  dis- 
tributed as  the  printing  is  proceeded  with. 

THE  ARTS  IN  EARLY  ENGLAND. 

By  G.  Baldwin  Brown,  M.A.,  Professor  of  Fine 
Art  in  the  University  of  Edinburgh  ; formerly  Fellow 
of  Brasenose  College,  Oxford.  Wi  h Illustrations. 
Two  vols.  Royal  8vo.  [Ready  shortly. 

THE  FINE  ARTS.  The  Origin, 

Aims  and  Condition  of  Artistic  Work  as  apphed  to 
Painting,  Sculpture  and  Architecture.  By  G. 
Baldwin  Brown,  M.A.,  Professor  of  Fine  Art  in  the 
University  of  Edinburgh  ; formerly  Fellow  of  Brase- 
nose College,  Oxford.  New  Edition.  With  many 
new  Illustrations.  Crown  8vo,  6s. 

“ It  is  a work  that  ought  to  be  in  the  library  of  all  thoughtful 
students  cf  Art  ."—Literary  World. 

THE  PAINTERS  OF  FLORENCE. 

From  the  Thirteenth  to  the  Sixteenth  Century.  By 
Julia  Cartwright  (Mrs.  Ady).  With  Illustrations. 
Crown  8vo,  6s.  net. 

"An  excellent  handbook  ...  of  great  use,  both  to 
travellers  in  Italy  and  to  those  who  wish  to  learn  the  outlines  of 
Florentine  art  history  in  the  galleries  at  home.” — Times. 

THE  IDEALS  OF  THE  EAST. 

With  special  reference  to  the  Art  of  Japan.  By 
Kakuzo  Okakura.  Ciown  8vo,  6s.  net. 

[Ready  shortly. 

London:  JOHN  MURRAY, 


ISABELLA  D’ESTE,  M A R = 

CIIIONESS  OF  MANTUA,  1474-1539.  A Study  of 
the  Renai-sance.  By  Julia  Cartwright  (Mrs.  Ady), 
Auihorof  “Beatrice  d’Este,”  ‘‘Madame,”  “Sacha- 
rissa,’’  “ The  Painters  of  Florence,”  &c.  With  Illustra- 
tions. Two  vols.  Demy  8vo,  25s.  net.  [Ready  shortly. 

SPIRALS  IN  NATURE  AND  ART. 

A Study  ofSpualFormations  based  on  the  Manuscripts 
of  Leonardo  da  Vinci,  wilh  special  refer  ence  to  the 
Architecture  of  the  Open  Staircase  in  the  Wing  of 
Francis  I.,  at  the  Castle  of  Blois,  in  Touiaine,  now  for 
the  first  time  shown  to  be  'rom  his  designs.  By 
Theodore  Andrea  Cook,  M.A.,  F.S.A,,  Author  of 
“Old  Touraine,”  “Rouen,”  &c.  &c.  With  a 

Preface  by  Professor  E.  Ray  Lankester,  F.R.S., 
&c.,  Director  of  the  British  Museum  of  Natural 
History.  With  Illustrations.  Crown  8vo,  7s.  6d.  net. 

[Ready  immediately. 

THE  SCULPTURES  OF  THE 

PARTHENON.  By  A.  S.  Murray,  LI,.!).,  F.S.A., 
Keeper  of  Greek  and  Roman  Antiquities  in  the 
British  Museum.  With  numerous  large  Photogravures 
and  other  Illustrations  of  the  whole  remains. 
Medium  8vo,  21s.  net.  [Ready  shortly. 

THE  FRESCOESINTHESIXTINE 

CHAPEL  IN  ROME.  By  Miss  Evelyn  March 
Phillipps.  With  24  Illustrations  and  a Photogravure 
Frontispiece.  Crown  8vo,  6s.  net. 

"A  scholarly  handbook  which  no  visitor  to  the  Sixtine- 
Chapel  should  be  without.” — Magazine  of  Art. 

THE  HISTORY  OF  SIENA.  By 

Professor  Langton  Douglas.  With  Mata--.  Photo- 
gravures, at.d  other  Illustrations.  Medium  8vor 
21s.  net.  fust  out. 

ALBEMARLE  STREET,  W. 


AD.  XVI 


COROT  AND  MILLET 


WITH  CRITICAL  ESSAYS 
BY  GUSTAVE  GEFFROY 
& ARSENE  ALEXANDRE 


Edited  by  Charles  Holme 


JOHN  LANE,  OFFICES  OF  JHE  INTER- 
NATIONAL STUDIO,’  67  FIFTH 
AVENUE,  NEW  YORK  MCMIII 


PREFACE 


A man  confronted  with  the  array  of  work  in  this  volume  feels  it 
unnecessary  to  write  a prefatory  note  on  the  arts  of  Corot  and  Millet. 
It  is  a volume  that  explains  itself ; it  asks  for  no  introduction.  But 
the  Editor,  in  issuing  it  to  the  public,  desires  to  offer  his  cordial 
thanks  to  all  who  have  helped  in  its  preparation,  beginning  with  the 
authors,  M.  Gustave  Geffroy  and  M.  Arsene  Alexandre,  whose 
admirable  essays  lose  but  little  of  their  style  in  the  sympathetic 
translations  by  Mr.  Edgar  Preston.  Mr.  F.  Keppel,  after  long  study 
of  the  subject,  has  written  the  notes  on  the  etchings  of  Millet.  The 
collectors  who  have  kindly  lent  work  for  reproduction  include  Sir 
Matthew  Arthur,  Bart.,  Mr.  Alexander  Young,  Mr.  W.  A.  Coats, 
Mr.  A.  T.  Reid,  Mr.  Charles  Ricketts,  Mr.  Morley  Pegge,  Mr. 
Alexander  MacBride,  Mr.  W.  Pitcairn  Knowles,  Dr.  T.  W.  T. 
Lawrence,  Mr.  James  Arthur,  Monsieur  Henri  Rouart,  and  Monsieur 
Leon  Bonnat.  Much  assistance  has  also  been  received  from  Messrs. 
William  Marchant  & Co.,  Messrs.  Dowdeswell  and  Dowdeswell, 
Mr.  R.  Gutekunst,  Mr.  E.  van  Wisselingh,  Mr.  F.  Keppel,  Messrs. 
C.  Klackner  & Co.,  Messrs.  Braun,  Clement  & Co.,  the  Societe 
Anonyme  des  Galeries  Georges  Petit,  Messrs.  Durand-Ruel  et  Fils, 
M essrs.  Carfax  & Co.,  the  Autotype  Company,  Messrs.  Obach  & Co., 
Messrs.  Cottier  & Co.,  Messrs.  Hollander  and  Cremetti,  and  the 
Proprietors  of  the  French  Gallery,  London. 


LIST  OF  ILLUSTRATIONS 


CAMILLE  COROT 
Oil  Paintings. 


“ Music  and  Art  ” 

c 

I 

“The  Wounded  Eurydice  ” 

c 

2 

“ Mother  and  Child  ” 

c 

3 

“ The  Bather  ” 

c 

4 

“ Cottage  Interior— Limousin  ” 

c 

5 

“ Tivoli,  seen  from  the  Villa 

d’Este  ” 

c 

6 

“ Hagar  in  the  Wilderness” 

c 

7 

“ Italian  Landscape” 

c 

8 

“ Chateau  Thierry  ” 

c 

9 

“ Near  Arras  ” 

c 

IO 

“ View  of  Rome  ” 

c 

1 1 

“ The  Great  Oak  at  Fontaine- 

bleau ” 

c 

I 2 

“ A Gust  of  Wind  ” 

c 

13 

“ Evening  Glow  ” 

c 

H 

“ Orpheus  ” 

c 

1 5 

“ Farmyard  at  Coubron  ” 

c 

16 

“ The  Canal  at  St.  Quentin  ” 

c 

i7 

“ The  Bridge  ” 

c 

i 8 

“ Souvenir  d’ltalie  ” 

c 

l9 

“ The  Goat-herd  ” 

c 

20 

“ Peasants  near  a Lake  ” 

c 

2 I 

“ Goat-herd  Piping  ” 

c 

22 

“ The  Lake  ” 

c 

23 

“ Dance  of  Nymphs  ” 

c 

24 

“Women  Bathing” 

c 

25 

JEAN  FRANCOIS  MILLET 

Crayon  Studies. 

“ A Siesta  ” 

M 

I 

“ Threshing  ” 

M 

-> 

“ The  Stile  ” 

M 

3 

“ Potato  Planting  ” 

M 

4 

“ The  Potato  Harvest  ” 

M 

5 

“ Woman  Pasturing  a Cow  ” 

M 

6 

“ Pool  at  Ville  d’Avray  ” 

c 26 

“ Le  Parc  des  Lions  a Mont- 

Marly  ” 

c 28 

“ Old  Cottage  near  Semeur  ” 

c 29 

“ Le  Lac  d’Albano  ” 

c 30 

“ The  Castle  of  Wagnouville  ” 

c 31 

“ The  Bathers  ” 

c 32 

“ Trees  and  Pond  ” 

c 33 

“ The  Bent  Free  ” 

c 34 

“ Peasant  Riding  ” 

c 35 

“Women  Bathing  ” 

c 36 

“ The  Tower  ” 

c 45 

Decorative  Painting. 

“ Don  Quixote  and  Cardenio  ” 

c 27 

Charcoal  Drawings. 

“ Landscape  Study  ” 

C 37 

“ Landscape  Study  ” 

c 38 

“ Souvenir  d’ltalie  ” 

C 39 

“ Landscape  Study  ” 

c 40 

Etchings. 

“ Souvenir  de  Toscane  ” 

c 41 

“ Italian  Landscape  ” 

c 42 

“ Boat  under  the  Willows  ” 

C 43 

“ The  Pool  at  Ville  d’Avray  ” 

c 44 

“ A Wooded  Country  ” 

c 46 

“ Souvenir  d’ltalie  ” 

c 47 

“ The  Angelus  ” 

M 

7 

“ The  Travellers  ” 

M 

8 

“ Goat-herd  and  Goats  ” 

M 

9 

“ Calling  in  the  Herd  ” 

M 

10 

“ Loading  ” 

M 

1 1 

“The  Calf” 

M 

12 

“ Almsgiving  ” 

M 

13 

Jean  Francois  Millet — continued 


Washing  Day  ” 

m 14 

“ Le  Pot-au-Feu  ” 

m 1 5 

“ Girl  Churning  ” 

M 16 

“ First  Steps  ” 

M 17 

“ The  Old  Woodman  ” 

M l8 

“ Girl  Bathing  ” 

M 19 

“ Washerwomen  ” 

M 20 

“ A Little  Shepherdess” 

M 2 I 

“ Carrying  Milk  ” 

M 2 2 

“ A Lesson  in  Knitting  ” 

M 2 3 

“ Mother  and  Child  ” 

M 24 

“ Phebus  et  Boree  ” 

M 25 

“ Winnowing  ” 

M 26 

“ Gardening  ” 

M 27 

“ CEdipus  being  Taken  Down 

from  the  Tree  ” 

m 35 

“ The  Lamb  ” 

M 40 

“ A Young  Shepherdess  ” 

M 47 

Oil  Paintings. 

“ Woman  Asleep  ” 

M 28 

“ The  Sea  ” 

M 29 

“ Coast  Scene  ” 

M 30 

“ Parish  Church  at  Greville  ” 

M 31 

“ Spring  Time  ” 

M 32 

“ The  Pig-killers  ” 

m 33 

“ The  Nestlings  ” 

M 34 

“ (Edipus  being  Taken  Down 

from  the  Tree  ” 

M 36 

“ Death  and  the  Woodman  ” 

M 37 

“ Drawing  Wrater  ” 

M 38 

“ Peasant  Woman  Spinning  ” 

M 39 

“ Spring  Time  ” 

M 4I 

“ Labour ” 

M 42 

“ The  Shepherdess  ” 

M 43 

“ A Housewife  ” 

M 45 

Pen  Drawings. 

“ The  Sower  ” m 44 

“ Mother  and  Son  ” m 60 

Etchings. 

“ Woman  Sewing  ” m 46 

“ Churning  ” m 48 

“ Man  with  a Wheelbarrow  ” m 46 

“ Peasants  Starting  for  Work  ” m 50 

“ Shepherd-Girl  Spinning  ” m 51 

“ Trial  Sketches  ” m 52 

“ A Shepherdess  Seated  ” m 53 

“Two  Men  Digging”  m 54 

“ Trial  Sketches  ” m 55 

“The  Two  Cows”  m 5 6 

“ The  Seaweed  Gatherers  ” m 56 

“ The  Vigil  ” m 59 

“Digger  Resting”  m 61 

Dr  ypoint. 

“Sheep  and  Cow  Grazing”  m 57 

Water-colours. 

“The  Peacemaker”  m 62 

“ Landscape  Study  ” m 63 

“ Landscape  Study  ” m 64 

H ELIOGRAPH  ON  GLASS. 

“Girl  Drawing  Water”  m 65 

Woodcuts. 

“ Faggoting  ” m 66 

“ Trussing  ” m 67 

“ Reaping  ” m 68 

“ Flax-pulling  ” m 69 

“ Shearing  ” m 70 

“Flax-crushing”  m 71 

“ Mowing  ” m 72 

“ Raking  ” m 73 


LIST  OF  SPECIAL  PLATES  NOT 
INCLUDED  IN  THE  FOREGOING 


CAMILLE  COROT 


“ Portrait  of  Camille  Corot.”  A Reproduction  in 

Photogravure  Frontispiece  to  Corot  Monograph 

“Environs  de  Rome,  1866.”  From  the  Original  Etching  facing  page  viii 
“The  Pool.”  A Reproduction  in  Colours 
“ The  Lake.”  A Reproduction  in  Photogravure 
“ Peasants  near  a Pool.”  A Reproduction  in  Tints 
“At  the  End  of  the  Valley.”  A Reproduction  in  Colours 
“ View  of  Ville  d’Avray.”  A Reproduction  in  Photogravure 
“ L’Heure  Matinale.”  A Reproduction  in  Colours 
“ The  Pathway  to  the  Church.”  A Reproduction  in  Colours 


XVI 

xxiv 
„ xxxii 
c 9 
c 19 
c 27 
C 35 


JEAN  FRANCOIS  MILLET 

“ Portrait  of  J.  F.  Millet.”  From  the  Drawing  by 

Himself  Frontispiece  to  Millet  Monograph 

“ Ver-Vert,  the  Parrot  of  the  Nuns.”  A Reproduction  in 


Colours 

facing  page  iv 

“The  Sower.”  From  the  Original  Lithograph 
“ A Shepherdess  Knitting.”  A Photogravure  after  the 

5? 

» viii 

Original  Etching 

5) 

„ xvi 

“ The  Happy  Family.”  In  Facsimile  of  the  Original  Drawing 

55 

M 4 

“ The  Bather.”  A Reproduction  in  Tints 

J) 

M 8 

“ La  Soupe.”  From  the  Original  Etching 

>> 

M l6 

“ Carding  Wool.”  From  the  Original  Etching 

M 21-22 

“The  Woodsawyers.”  A Reproduction  in  Photogravure 

5) 

M 27 

“ Gleaning.”  From  the  Original  Etching 

M 35-36 

“A  Shepherdess  Seated.”  From  the  Original  Woodcut 

1 5 

M 46-47 

“ The  Shepherdess.”  A Reproduction  in  Photogravure 

>> 

M 59 

JEAN-BAPTISTE  CAMILLE  COROT. 
By  GUSTAVE  GEFFROY. 


HE  life  story  of  Corot  tells  itself  all  the  world 
over.  One  recognises  it  in  the  public  gallery, 
in  the  private  collection,  in  the  drawing-room 
where  one  of  his  canvases  hangs  on  the  wall. 
That  life-story  is  his  work — those  moist,  quiver- 
ing, luminous  paintings  in  which  there  is  water 
and  herbage,  trees  and  clouds,  with  light  rising 
or  sinking  on  the  horizon,  a presentiment  or  a 
memory  of  the  sunshine,  a sweet  harmony  of 
moonlight  and  stars,  a silvered  reflection  speaking  amid  the  silence 
and  the  night.  Each  one  of  these  canvases  speaks  for  Corot, 
and  says  to  us  : “ That  day,  that  morning,  that  evening,  or 

that  night  I was  here,  before  this  pool,  this  wood,  this  plain, 
this  field,  or  this  house.  I stood  under  the  gloomy  sky,  full  of 
tears  of  rain.  On  this  sad  grey  visage  I saw  the  divine  smile  of 
light  arise  ; saw  fall  a shower  of  infinite  softness,  gleaming  with  the 
sun’s  own  gold,  and  the  sound  of  those  rain-drops  falling  on  the 
leaves  was  exquisite.  ’Twas  Spring  complete,  in  its  awakening,  its 
perfume,  its  colour,  its  sound.  Anon  it  was  the  wind,  come  from 
afar,  hurrying  through  the  valley,  bending  the  trees,  rustling  the 
foliage,  scattering  the  leaves,  and  ruffling  the  waters.  Everything 
responded  to  the  same  movement,  in  the  same  way,  and  I strove  to 
follow  the  rapid  flight  of  the  landscape,  which,  though  keeping  its 
place,  seemed  to  be  wildly  hurrying  by.  ’Twas  Autumn  complete, 
with  its  breath  of  decay,  its  death-rattle,  its  farewell.  Peace  I found 
once  more  within  this  moon-lit  glade,  with  a trace  of  daylight  still 
lingering  above  the  forest  tops.  That  night  I thought  I saw  the 
hamadryads  starting  from  the  trees,  and  the  nymphs  dancing  among 
the  ferns.” 

Other  works,  neither  landscapes  nor  figure-pieces,  might  utter  other 
confidences  : “ For  the  most  part  they  are  humble  creatures — girls 
and  women — I have  depicted.  I had  met  them  in  the  street  in  their 
Italian  garb,  or  in  their  servants’  clothes  ; or  maybe  they  had  come 
to  my  studio  to  ask  if  I wanted  models.  I never  sent  them  away. 
In  them  I saw  the  beauty  of  life.  That  beauty  is  in  every  living 
creature,  in  everything  that  breathes,  just  as  it  is  in  everything  which 
is  impregnated  with  life.  It  has  given  me  as  much  pleasure  to  paint 
these  women  as  to  paint  my  landscapes.  On  their  flesh  the  poem  of 

c i 


COROT 


the  hours  has  unfolded  itself  as  beautiful,  as  enchanting,  as  on  the 
soil,  the  waters,  the  hills,  and  the  trees.  The  mystery  of  the  woods 
was  in  their  hair  ; the  mystery  of  the  sky  and  of  the  still  pools  in 
their  eyes.  So  too,  Spring  and  Autumn  passed  before  me  when  they 
smiled,  joyously  or  sadly.  And  their  simple  speech  would  ever 
bring  to  my  eyes  the  dancing  of  the  nymphs.” 

Thus,  and  doubtless  far  better,  do  Corot’s  paintings  speak  to  such 
as  look  at  them  and  listen  to  what  they  say.  Each  recounts  an  hour 
of  his  life,  the  moment  when  he  was  charmed,  ravished,  dazzled  by 
the  poetry  of  things, — by  some  forest-glade  in  Artois,  by  some  pond 
at  Ville  d’Avray,  or  by  the  supple  body  of  some  woman  near  him. 
Therein  was  his  life,  his  real  life,  his  whole  life  indeed,  for  all  the 
time  he  passed  away  from  his  easel  he  would  spend,  whether  he 
were  alone  or  in  conversation  with  others,  in  dreaming,  in  spite  of 
himself,  so  to  speak,  of  the  relations,  the  harmonies,  existing  between 
the  things  he  saw  everywhere  around  him,  the  things  he  had  repro- 
duced yesterday,  that  he  was  about  to  reproduce  that  very  day,  and 
on  the  morrow,  and  on  all  the  morrows  right  to  the  end.  A man, 
an  artist,  of  this  sort,  possessing  the  gift  of  seeing  and  the  gift  of 
creating  anew,  is  never  completely  free  to  think  of  aught  else  but 
his  art.  Even  when  not  deliberately  thinking  of  it  he  really  is  doing 
so,  unknown  to  himself.  These  haunted  brains  are  for  ever  weaving 
schemes  in  secret. 

But  I must  tell  of  the  exterior  of  this  life,  gathering  together  the 
traits  of  which  it  was  made  up,  and  collecting  the  words  spoken  or 
written  by  Corot  and  by  those  who  knew,  admired,  and  discussed 
him.  For  all  this  too  has  its  interest,  inasmuch  as  it  assists  one  to 
understand  his  work,  and  to  follow  its  formation,  its  variations,  its 
gradations. 

I have  before  me  one  of  the  latest  portraits  of  Corot — a photo- 
graph. The  features  are  clearly  marked.  The  brow,  high  and  bare, 
crowned  with  hair  in  the  coup  de  vent  style,  is  furrowed  with  lines. 
His  glance  goes  clear,  keen,  direct,  from  beneath  the  heavy  eyelids. 
The  nose,  short  and  fleshy,  is  attached  to  the  cheeks  by  two  strongly 
marked  creases.  There  is  a smile  on  the  lips,  of  which  the  lower  is 
very  thick — altogether,  a good,  intelligent,  witty  face.  Nothing  to 
suggest  a life  of  struggles,  of  alternations  of  hope  and  despair.  Corot 
was  indeed  spared  such  a life,  for  his  family,  although  failing  to 
understand  him,  supplied  him  with  means  sufficient  to  enable 
him  to  preserve  his  liberty.  In  truth  he  could  not  have  desired 
more. 

At  the  corner  of  the  Rue  du  Bac  and  the  Quai  d’Orsay,  opposite 
c ii 


COROT 


the  Pont  Royal,  there  stood  more  than  a hundred  years  ago  a little 
shop  with  a sign-board  bearing  these  wo  ds  in  yellow  paint  : 

Mme.  COROT,  MARCHANDE  DE  MODES. 

It  was  a well-frequented  shop.  Mme.  Corot,  assisted  by  several 
capable  girls,  created  new  models,  while  her  husband,  an  office  clerk, 
spent  his  days  in  town  among  the  day-books  and  ledgers  appertaining 
to  the  book-keeping  system  of  the  business  houses  of  the  period.  It 
was  amid  these  quiet  but  businesslike  surroundings,  in  this  atmosphere 
of  prudent,  steady,  middle-class  existence,  that  Jean-Baptiste  Camille 
was  born  on  the  28th  of  July,  1796  (10  Thermidor,  Year  IV.). 

The  birth  of  the  child  made  no  particular  change  in  the  life  of  the 
parents,  who  already  had  a daughter,  two  years  of  age.  M.  Jean 
Louis  Corot  continued  to  keep  his  accounts  and  strike  his  balances. 
Only  for  a few  days  did  Mme.  Corot  neglect  her  elegant  combina- 
tions of  tulle  and  ribbons,  ruches  and  hat  shapes.  The  boy  was  sent 
to  a primary  school,  where  he  won  some  successes,  and  on  the 
15th  of  December,  1806,  obtained  a “ bourse  rationale ,”  or  scholar- 
ship, which  enabled  him  in  the  April  following  to  enter  a lycee  at 
Rouen,  where  he  had  as  correspondant  a M.  Jeunegon,  living  at 
No.  90,  Rue  Beauvoisine. 

Here,  in  the  provinces,  young  Camille,  real  Parisian  as  he  was,  first 
became  acquainted  with  the  bitters  of  life.  He  was  home-sick, 
longed  for  his  family,  for  Paris,  and  for  the  pavement  of  the 
quays,  for  the  Tuileries,  for  the  Seine — which  is  not  the  same  thing 
at  Rouen — for  the  Louvre,  stretching  its  noble  lines  right  in  front  of 
his  home  in  the  Rue  du  Bac.  His  studies  at  the  time  reveal  his 
state  of  mind.  It  appears  from  notes  preserved  in  the  archives  of 
the  lycee  that  the  first  class  he  went  through  was  what  is  known  as 
“ the  second  year  of  grammar,”  which  corresponds  with  the  fifth  at 
present  ; he  even  went  as  far  as  the  belles-lettres  classes  (rhetoric). 
His  name  does  not  once  appear  in  the  lists  of  honours,  not  even  in 
drawing.  Nevertheless  he  got  through  his  “ humanities  ” by  the 
29th  of  June,  1812,  and  returned  to  Paris.  Here  his  father  placed 
him  with  a marchand  de  nouveautes , M.  Ratier,  with  whom  he 
stayed  a year,  and  then  with  a draper  in  the  Rue  Saint-Honore,  a 
M.  Delalain. 

It  was  not  long-cloth  young  Corot  wanted,  but  canvas — canvas 
stretched  on  a frame-work,  ready  to  be  daubed.  The  yard-measure 
has  no  kinship  with  the  brush,  and  druggets  from  Sedan  or  Elbceuf 
have  as  little  connection  with  palette  and  colours. 

c iii 


COROT 


One  of  Corot’s  biographers,  M.  Alfred  Robaut,  tells  a story  which 
may  be  given  here  : 

“ One  day,”  he  remarks,  “ when  I was  in  Corot’s  studio,  there 
entered  a father  with  his  son,  the  former  exclaiming  : ‘ Monsieur 

Corot,  here’s  a young  man  of  whom  your  friend  M.  X will 

have  spoken  to  you.  He  threatens  to  upset  the  happiness  of  the 
whole  family.  I wanted  to  secure  a position  for  him,  something 
solid  which  should  provide  for  his  existence  ; but  he,  on  the  con- 
trary, has  taken  it  into  his  head  to  become  a painter  ! Now  I ask 
you,  Monsieur  Corot,  is  it  reasonable  ? — for  I was  assured  I might 
rely  on  your  advice.’ 

“ ‘ H’m,  h’m,’  replied  the  painter,  placing  his  pipe  on  the  edge  of  his 
easel,  ‘ this  is  serious,  sir,  very  serious  ! But  come,  did  this  young 
man  finish  his  studies  ? ’ 

“ ‘ Nearly,’  answered  the  father. 

“ 4 And  since  then  ? ’ 

“ ‘ Ah,  Monsieur  Corot,  nothing  that’s  much  good  ! Six  years  ago  I 
put  him  in  business,  and  that  didn’t  suit  him.  He  was  always  scrib- 
bling behind  his  master’s  counter,  and  then ’ 

“ Corot,  ready  to  burst  with  laughter,  bit  his  lip  and  exclaimed  : 

4 Why,  that’s  my  own  story  you’re  telling  me.  . . . That’s  absolutely 
what  happened  to  me  ; and,  if  you  like,  I will  tell  you  the  rest.  . . ’ ” 
44  The  rest,”  in  Corot’s  case,  may  be  told  in  a few  lines.  M.  Delalain, 
discovering  that  his  assistant  had  no  aptitude  for  sedentary  work, 
made  him  a sort  of  town-traveller.  Carrying  a parcel  of  patterns, 
wrapped  up  in  water-proof  cloth,  Corot  went  from  street  to  street 
among  the  retail  dealers,  doing  his  work,  but  doubtless  doing  it 
badly,  for  the  result  was  very  meagre.  Many  a time  his  employer 
met  him  in  the  street,  gazing  at  the  pictures  and  prints  in  the  shop 
windows,  and  shifting  from  place  to  place  in  order  to  get  a better 
view,  sometimes  putting  his  parcel  on  the  ground  to  shade  his  eyes 
with  both  hands  ; as  often  as  he  possibly  could  do  so  he  went  into 
the  Louvre.  At  such  times  Corot  was  far  away  from  all  thought 
of  his  sales  or  the  profit  he  might  make  out  of  them.  Little  cared 
he  either  for  the  lessons  his  master  had  given  him  in  the  art  of 
disposing  of  his  goods,  especially  that  of  getting  rid  of  old-fashioned 
damaged  stuff  at  the  highest  possible  price — principles  altogether 
repugnant  to  the  honest  conscience  of  the  lad,  who  could  not  under- 
stand why  one  should  be  at  such  pains  to  entrap  other  people. 

44  But  that’s  business  ! ” replied  M.  Delalain,  44  Ah,  you’ll  never 
have  the  commercial  spirit  ! ” 

No,  as  will  soon  be  seen,  Corot  was  never  to  have  the  shopkeeper’s 
c IV 


COROT 


temperament.  M.  Corot  pere,  pulled  one  way  by  the  boy’s  master, 
who  declared  he  could  make  nothing  of  his  assistant,  harassed  on 
the  other  hand  by  the  boy  himself,  riding  his  painting  hobby  more 
furiously  than  ever,  dreaming  only  of  frames  and  easels,  mahlsticks, 
brushes,  and  palettes — M.  Corot  pere  at  last  decides,  at  the  end  of 
eight  years,  to  go  into  the  matter,  and  see  what  can  be  done  for  his 
nuisance  of  a son.  A solemn  council  is  held  in  the  backshop  in 
the  Rue  du  Bac  ; the  state  of  the  family  exchequer  is  examined,  and 
it  is  found  possible  to  detach  an  allowance  of  1 500  francs  in  favour 
of  Camille,  it  being  resolved  that  in  no  case  is  this  amount  to  be 
exceeded. 

The  lad  was  full  of  thanks,  and,  deeply  moved,  declared  himself  to 
be  the  happiest  of  beings.  But  the  realisation  of  his  dream  produced 
a sort  of  stupor.  I do  not  believe  that  Corot,  now  that  he  was  free, 
had  any  anxiety  about  what  he  was  losing,  about  the  magasin  de 
nouveautes  and  his  set  of  patterns.  Nevertheless.,  he  has  related  how, 
after  having  obtained  his  parents’  consent  to  become  a painter,  he 
would  walk  about  the  quays,  day  after  day,  his  portfolio  under  his 
arm,  but  doing  absolutely  nothing.  However,  he  soon  made  up  his 
mind.  Installing  himself  by  the  Port  Saint-Nicolas,  near  the  spot 
where  to-day  the  London  steamer  is  moored,  he  began  to  paint  the 
landscape  of  the  City,  as  seen  through  the  mist  and  smoke  floating 
like  a transparent  veil  over  the  river. 

What  has  become  of  his  early  efforts  ? Probably  they  are  covered 
by  other  paintings  ; perhaps  they  repose  beneath  some  landscape  at 
present  adorning  the  walls  of  some  museum  or  private  dwelling. 
Several  lithographs,  beyond  discovery  now,  also  date  from  this 
period,  notably  a Kermesse  Flamande , La  Garde  meurt  et  ne  se  rend  pas , 
and  La  Peste  de  Bar ce lone. 

While  the  great  artist  that  is  to  be  is  feeling  his  way — his  re- 
signed family  showing  no  interest  in  his  work,  which  they  regard 
as  vain  and  useless — his  efforts  are  followed  with  interest  by  his 
mother’s  shop  assistants.  The  young  work-girls  escape  from  the 
shop  whenever  they  can,  and  cross  the  bridge  to  satisfy  their 
curiosity.  Corot,  who  sometimes  recalled  these  memories,  used  to 
say  that  one  of  the  girls,  Mile.  Rose,  “ came  more  often  than  her 
companions”;  and  he  added  : “ She  is  still  alive  ; she  has  remained 
unmarried  and  pays  me  a visit  from  time  to  time.  Last  week  she 
was  here.  Oh,  my  friends,  what  a change  ! and  what  reflections  it 
arouses  ! My  painting  has  not  budged;  it  is  still  young,  it  tells  the 
hour  and  the  weather  of  the  day  when  I did  it — but  Mile.  Rose  and 
I myself,  what  are  we  ? ” 


c v 


COROT 


Corot  entered  the  studio  of  Achille  Michallon,  master  and  pupil 
being  just  the  same  age.  The  former,  educated  by  David,  via 
Bertin,  belonged  to  the  school  which  sought  to  discover  the  life  of 
human  beings  by  searching  into  the  souls  of  statues,  which  studied 
Nature’s  secrets  with  the  aid  of  the  pedagogue  methods  of  the  atelier. 
Corot  showed  afterwards  a picture  he  had  painted  at  Michallon’s, 
and  happily  described  it  as  “ rather  a study  in  submission  than  in 
painting.”  His  master  ordered  him  to  be  “ exact  and  punctual,” 
and,  more  submissive  in  art  than  in  commerce,  he  obeyed. 

Michallon  died  in  1822,  and  Corot  went  off  to  seek  Victor  Bertin, 
who  consented  to  take  him.  Michallon  had  preserved  some- 
thing of  an  open  mind  and  a certain  desire  to  be  inspired  by  Nature, 
but  Bertin,  like  all  David’s  satellites,  swore  by  antique  art,  and  by 
that  alone — that  art,  so  far  as  they  were  concerned,  consisting  in 
draping  models,  rigging  them  up  with  a helmet,  and  arming  them 
with  sword  and  lance  and  shield  and  quiver,  and  fixing  them  in  a 
landscape  of  artificial  trees  where  torrents  of  spun  glass  fall  from 
mountains  of  cardboard  and  stuffed  beasts  roar.  Such  was  the  tra- 
ditional landscape,  and  France  particularly  excelled  therein  at  the 
commencement  of  the  nineteenth  century,  when  her  landscapists  refused 
to  look  at  Nature.  At  that  time  “Nature”  simply  meant  a hilly 
background,  or  a couple  of  trees,  or  a motionless  stream — mere 
accessories  of  a scene  of  biblical  or  Roman  history.  This  style 
had  at  once  been  admitted  and  encouraged.  The  government  of 
the  day  consecrated  these  artistic  horrors  by  a national  decree.  It 
was  decided  that  the  artist  who  should  best  succeed  in  building  a 
temple  on  a rock  should  be  rewarded  by  a permission  to  stay  at  the 
Ecole  de  Rome.  And  this  was  Michallon’s  triumph.  The  acade- 
mician who  about  that  time  published  the  famous  pamphlet,  entitled 
“ Revue  critique  des  productions  de  peinture,  sculpture,  gravure 

exposees  au  Salon  de  1824,  par  M.  ,”  expressed  to  perfection 

that  hatred  of  the  real  and  that  love  of  the  false  which  were  then 
the  characteristics  of  the  historical  landscapist.  “ What,”  he  ex- 
claims, “ would  become  of  the  landscapist’s  art  if,  through  over- 
timidity, he  feared  to  burst  into  the  domain  of  history  ? What 
poetry,  what  high  inspiration,  could  fire  him,  and  sustain  him  in 
his  labours  ? Continually  trees  and  shrubs,  and  air  and  space  and 
surface — what  do  I care  for  all  these  things  if  the  artist  do  not 
throw  upon  these  objects  some  sentiment  of  living  animated  nature, 
if  he  do  not  invest  them  alternately  with  sadness  or  serenity, 
violence  or  calm  ? ” Painting  was  in  full  agreement  with  this  sort 
of  writing — all  Homer’s  warriors,  all  Virgil’s  shepherds,  all  the 
c vi 


COROT 


peplums,  all  the  buskins,  all  the  firemen’s  helmets,  made  their 
appearance  in  front  of  the  colonnades  among  the  sham  verdure. 
The  animals  of  mythology  came  to  drink  at  the  springs. 

The  most  guilty  of  these  manufacturers  of  history,  these  falsifiers 
of  Nature,  were  Bertin,  Valenciennes,  Michallon,  Bidault,  Watelet, 
together  with  Aligny,  Flandrin,  and  Desgofies.  It  was  against  these 
men  and  their  teaching  that  Constable,  Bonington,  Rousseau,  Huet, 
Dupre,  Corot,  Diaz,  Millet,  Daubigny,  Michel,  Courbet  went  in 
revolt,  all  inspired  by  the  longing  to  rehabilitate  that  which  the 
academician  of  1824  had  proscribed — “ trees  and  shrubs,  and  air  and 
space  and  surface.” 

Young  Corot  spent  two  winters  amid  these  strange  artistic  sur- 
roundings. Of  all  this  he  retained  but  little — that  little  being  a 
tendency  towards  classic  themes,  a style  of  composition  made  up  of 
mythology  and  Nature.  But,  like  Poussin,  he  redeemed  it  by  close 
observation  of  reality,  by  breathing  life  into  his  work,  and  he  was 
destined  soon  to  attain  complete  freedom.  Corot’s  career  is  well 
summed  up  in  this  extract  from  a letter  addressed  by  him  to  one  of 
his  biographers  : “ Till  eighteen  I was  at  the  Rouen  College,  then  I 
spent  eight  years  in  business  ; unable  to  stand  this  any  longer  I 
became  a landscape  painter,  at  first  as  a pupil  of  Michallon. 
Losing  him  I went  into  the  studio  of  Victor  Bertin.  Since  then  I 
have  thrown  myself,  all  alone,  on  Nature,  et  voila  ! ” 

He  had  learned  so  little  in  Paris  that  when  he  arrived  in  Rome, 
whither  Bertin  had  sent  him  “to  perfect  himself,”  he  realised  that 
he  “couldn’t  manage  even  the  smallest  drawing.”  “Two  men 
would  stop  to  chat,”  he  remarked  to  Theophile  Silvestre,  one  of  his 
biographers.  “ I would  begin  to  sketch  them  bit  by  bit,  starting 
with  the  head,  for  instance.  Then  they  would  part,  and  all  I had 
on  my  paper  was  sundry  bits  of  heads.  Or  children  would  be 
sitting  on  the  steps  of  some  church,  and  again  I would  begin,  only 
for  their  mother  to  call  them  away.  Thus  my  sketch-book  was  full 
of  tips  of  noses,  foreheads,  and  locks  of  hair.  I resolved  for  the 
future  not  to  go  home  without  having  done  a complete  work,  and 
for  the  first  time  I essayed  drawing  in  the  mass,  rapid  drawing — the 
only  drawing  possible.  I set  myself  to  take  in  a group  at  a glance  ; 
if  it  stayed  for  a short  time  only  at  least  I had  got  its  character,  its 
general  unconscious  attitude  ; if  it  remained  long  I could  add  the 
details.  I have  done  this  very  often,  and  I have  even  succeeded  in 
catching  in  a moment,  with  just  a few  strokes,  the  general  impression 
of  a ballet  and  its  surroundings  at  the  opera,  just  on  a scrap  of  paper 
inside  my  hat.” 

c vii 


COROT 


Here  is  a clear  lesson,  summarising  Corot’s  whole  method — a 
lesson  from  which  one  may  extract  the  definition  ot  his  artistic 
system,  namely,  to  seize  the  movement  of  things,  the  passing  life  of 
humanity,  the  quivering  of  the  branches,  the  spontaneity  of  a 
gesture  ; to  express  all  this  by  an  image  fixing  the  fugitive  impres- 
sion of  life.  What  Corot  did  not  tell  was  his  secret  with  regard  to 
the  fluid  atmosphere,  the  soft  and  resplendent  light  which  envelop 
men  and  things.  This  secret  he  possessed  without  having  the  power 
to  analyse  or  define  it  ; it  was  his  innate  sense  of  the  sunlight,  of  the 
breath  of  the  air,  of  human  movement,  of  the  swing  of  the  branches, 
of  the  respiration  of  the  plants,  of  the  particles  exhaled,  attracted, 
or  rejected  by  the  earth — in  a word,  his  innate  sense  of  all  that  con- 
stitutes life. 

In  Rome  Corot  resumed  the  strolling  life  he  had  led  in  Paris.  He 
sauntered  along  the  banks  of  the  Tiber,  climbed  the  hills,  pausing 
before  the  ancient  temples  in  ruins  which  crown  the  Aventine  where 
the  vines  and  laurels  grow,  making  sketches  for  the  little  canvases  to 
be  sent  later  to  the  exhibitions.  Two  of  these  pictures  are  now  in 
the  Louvre. 

He  became  friendly  with  several  students  at  the  Villa  Medicis — 
Leopold  Robert  (who  had  given  up  painting  for  sculpture),  Edouard 
Bertin,  Dupre,  Bodinier,  Schnetz,  Lapito,  Delaberge,  and  Aligny. 
The  little  group  used  to  meet  in  Corot’s  tiny  room,  which  was  so 
narrow  that  he  had  to  perch  his  models  on  his  trunk.  They  also 
frequented  the  Cafe  del  Greco  or  the  Restaurant  della  Lepre.  They 
smoked  their  pipes  and  drank  and  chatted,  and  Corot,  witty  and 
jovial  then  as  in  after  years,  did  not  scorn  to  listen  to  the  advice  of 
his  comrades.  They  naturally  were  in  favour  of  historical  landscape, 
but,  a little  uneasy,  began  to  be  interested  in  the  new  formulae,  which 
had  just  been  ingenuously  brought  to  light  by  the  painters  V alenciennes 
and  J.  B.  Deperthes.  Both  these  artists  were  inspired  by  the  works 
of  Nicolas  Poussin  and  Claude  Gelee,  and  believed  in  the  necessity  of 
faithfully  reproducing  Nature.  Deperthes  recalled  the  fact  that  Poussin 
kept  in  his  studio  “ moss  and  plants,  flowers  and  pebbles,  of  which 
he  made  painted  studies  for  the  purpose  of  enriching  his  idealist 
compositions,  and  giving  an  air  of  verisimilitude  thereto.”  He  also 
told  how  Lorrain  “ spent  his  days  and  part  of  his  nights  watching 
the  dawn,  the  sunrise,  the  sunset,  and  the  twilight  ; how  he  engraved 
on  his  memory  what  he  had  seen,  and  on  returning  to  his  studies 
hastened  to  put  his  recollections  on  canvas,  these  recollections  being 
expressed  with  so  much  truth  and  precision  that  one  would  have 
taken  them  for  Nature  herself,  decked  in  all  her  charms.” 
c viii 


CMX/IDAMO  r\  C 


DAM  CT 


1 QCZCZ  V cDr\^^ 


CTOUIMr.  DV  P.nRDT 


COROT 


Corot  utilised  all  this  instruction  to  good  purpose.  He  did  not 
trust  to  his  memory,  but  fixed  his  impressions  at  the  moment  he 
received  them.  Aligny  met  him  once  on  the  Palatine  Hill,  engaged 
in  painting  a study  for  his  picture  of  The  Coliseum , now  in  the 
Louvre,  and  was  so  struck  by  the  air  of  life  about  the  whole 
thing,  the  purity  of  the  sky  and  the  limpidity  of  the  atmosphere, 
that  he  had  to  sound  its  praises  again  and  again  to  escape  being 
taxed  with  irony.  From  that  day  forward  the  students  ceased  to 
treat  Corot  as  an  amateur,  and  Aligny  declared  that  there  was  some- 
thing to  be  gained  in  meeting  such  an  associate. 

In  1827  Corot  sent  from  Rome  to  the  Paris  Salon  his  picture,  called 
The  Roman  Gampagna  (“  Campagne  de  Rome”),  and  another,  Vue 
prise  a Narni. 

The  first  of  these  canvases  has  been  covered  up  by  another  painting. 
The  “ Guide  de  l’Amateur  a l’Exposition  de  1827-28,”  published  by 
a certain  “ Societe  de  gens  de  lettres  et  d’artistes,”  criticised  it  in  the 
following  terms  : “ It  is  impossible  that  the  artist  can  have  painted 
from  Nature,  for  in  that  case  he  would  have  done  otherwise  : there 
is  nothing  fixed  in  his  composition,  but  tones  that  are  quite  abrupt, 
tints  merging  into  violet.  ...  It  seems  to  us  we  might  haveffieen 
given  a better  idea  of  the  Roman  Campagna.  However,  M.  Corot 
is  a painter  of  merit.” 

ha  Vue  prise  a Narni  remained  in  possession  of  the  artist.  At  the 
sale  which  took  place  after  his  death  it  was  knocked  down  to  M. 
Lemaitre  for  2300  francs. 

Several  biographers  have  stated  that  Corot  returned  from  Rome 
in  1827  by  desire  of  his  family.  That  is  not  so.  He  went  back  at 
the  end  of  1828.  Here  is  the  letter  which  fixes  the  date  of  his 
return,  and  gives  some  interesting  details  of  the  artist’s  life  and 
character. 


“ Rome,  the  27th  of  March,  1828. 

“ My  Dear  Monsieur  Duverney, 

“ I have  been  a long  time  answering  your  kind  letter 
of  September  last.  It  gave  me  great  pleasure.  So  you  think  I have 
made  some  progress  ; that  will  encourage  me,  and  I am  going  to 
continue  steadily  striving  in  my  last  campaign.  It  is  true  enough 
that  the  further  one  advances  the  more  difficulties  one  meets.  There 
are  certain  parts  of  painting,  as  I should  like  to  treat  them,  which 
seem  to  me  to  be  unconquerable.  So  much  so  that  I dare  not 
approach  the  pictures  which  I sketched  at  the  beginning  of  the 

c ix 


COROT 


winter.  The  weather  has  been  continuously  fine,  and  I have  pre- 
ferred to  be  out  of  doors.  I could  not  keep  in  my  studio.  I con- 
template leaving  Italy  in  the  month  of  September  next,  and  returning 
to  Paris  ; and  there,  after  having  embraced  you  all,  I propose  to 
devote  myself  seriously  to  these  pictures.  You  may  imagine  how 
happy  I shall  be,  surrounded  by  my  family  and  my  friends,  working 
at  my  paintings,  no  longer  distracted  by  lovely  sky  and  lovely  scenes. 
I shall  he  entirely  engrossed  in  it,  and  when  my  work  is  over  I shall 
have  in  prospect  a happy  evening  to  divert  and  refresh  me  for  the 
morrow.  A dozen  years  ago  I dreamt  of  this  happiness  ; now  it  is 
within  my  reach  ; may  Fate  not  rob  me  of  it  ! 

“ I purpose  going  to  Naples  in  the  month  of  May  to  spend  some 
time.  Thence  I shall  come  back  to  the  outskirts  of  Rome,  where 
I shall  still  endeavour  to  seek  out  the  power  and  the  grace  of 
Nature.  I shall  be  very  happy  if  I am  able  to  bring  back  a few 
studies  more  satisfying  in  their  execution.  I shall  try  to  do  fewer 
and  better. 

“ At  the  present  moment  in  Rome  I am  doing  other  studies — 
costumes,  painted  and  drawn,  also  a few  compositions  while  I am 
in  this  country.  If  one  only  knew  how  I am  taken  up  with  my 
work  my  neglect  might  perhaps  be  forgiven.  When  you  see  in 
Paris  all  I have  done  you  will  congratulate  me  on  it,  persuaded  as 
you  are  that  I have  no  facility  of  execution. 

“ One  of  my  comrades  has  just  received  a petit  journal  of  the  Salon — 
‘ M.  Corot:  221,  222,  colouring  good,  piquant  effect,  transparency; 
we  recommend  him  to  draw  better  and  to  vary  the  forms  of  his 
trees.’  After  all  that,  I haven’t  much  to  complain  of  so  far  as  the 
Salon  is  concerned.  Now,  this  is  not  everything  ; I must  not  stay 
where  I am  ; I shall  be  to  blame  if  I do  not  advance.  My  kindest 
remembrance  to  Mme.  Duverney.  I hope  mother  and  child  are 
both  well,  and  all  your  family.  When  you  see  my  father  and 
mother  embrace  them  for  me  and  for  M.  and  Mme.  Semejon. 

“ If  you  should  chance  to  see  the  young  ladies  in  the  Rue  du  Bac 
tell  them  they  are  quite  wrong  if  they  are  offended  with  me  ; I am 
still  the  same  good  fellow,  only  a little  bit  cracked. 

“Je  vous  embrasse  de  tout  mon  cceur, 

“ Your  friend 

“ Camille  Corot. 

“ Monsieur  Theodore  Duverney,  rue  Neuve  des  Petits-Champs,  at 
the  corner  of  Rue  Saint-Anne,  Paris.” 

At  the  end  of  that  year — 1828 — Corot,  back  in  Paris,  receives  a 
c x 


COROT 


visit  in  his  studio  from  his  father,  who  announces  certain  matri- 
monial projects  which  he  contemplates  for  his  son.  The  artist 
declines  the  proposal,  urging  pecuniary  and  other  reasons,  and 
finally  adds  : “ I was  not  alone  here  in  my  studio  when  you  came 
in.  In  the  next  room  there  is  a woman  who  enters  and  who  leaves 
at  my  pleasure.  Her  name  is  La  Folie  ; she  is  my  Muse  and  she 
comes  to  enchant  me  ; and  when  the  cup  is  full  I say  to  her  : 
Vanish,  invisible  sunbeam  !”  So  henceforth  Corot  lives  in  freedom, 
an  inveterate  seeker  whom  any  sudden  idea  starts  off,  either  to 
explore  the  fields  and  the  woods,  or  to  go  o’  nights  round  the 
theatres  and  balls,  to  take  notes  and  silhouettes  of  actresses  and 
dancers.  M.  Charles  Blanc  tells  us  that  for  fifteen  years  Corot  was 
“ seeking  style  by  means  of  drawing,  by  large  lines  resolutely  traced, 
by  studied  sobriety  in  detail.”  The  truth  is  he  was  “ seeking  ” all 
his  life,  and  his  talents  were  constantly  in  course  of  transformation. 
Moreover,  Corot  did  not  deny  himself  his  amusements.  He  put 
into  practice  the  precept  which  Leonardo  da  Vinci  formulated 
in  his  writings  : “ Do  not  imitate  those  who  fatigue  themselves  by 
excessive  labour,  and  who  in  their  walks  and  in  company  go  about 
with  a look  of  care  and  a morose  expression.”  Corot  formed  one 
of  a group  of  six  artists — three  painters,  himself,  Jules  Boilly,  and 
Guindrant,  and  three  architects,  Hubert,  Poirot  and  Grizard — who 
met  from  time  to  time  in  town  or  in  the  country.  Boilly  and 
Guindrant  took  it  into  their  heads  to  decorate  the  walls  of  a village 
inn  with  a fresco  representing  the  six  friends,  arrayed  as  academicians, 
crossing  the  Pont  des  Arts  on  their  way  to  the  Institut.  This  fresco 
has  been  destroyed,  which  is  a great  pity,  for  the  faces  were  moulded 
in  plaster  the  better  to  get  the  likeness. 

From  1827  to  1831  there  were  no  exhibitions  in  the  Salons  of  the 
Louvre,  and  Corot  during  this  time  was  on  his  travels.  First  he 
went  to  Volterra,  in  Tuscany,  where  he  made  several  studies  for  his 
Agar  au  Desert.  He  tells  how  he  found  there  a landscape  formed 
of  bare,  ravined  soil,  also  a type  for  a weeping  mother.  “ Unfor- 
tunately,” he  adds,  “ when  I took  this  model  for  my  picture  I was 
never  able  to  recover  my  inspiration,  and  I spoiled  everything  I 
did.”  In  1830  he  explored  the  departments  of  the  Pas-de-Calais 
and  the  Nord,  and  brought  back  numerous  sketches  of  Saint-Omer, 
Bergnes,  Dunkirk,  Lille,  and  other  places. 

Returning  to  Paris  he  witnessed  the  outbreak  of  the  Revolu- 
tion. Bullets  were  whistling  everywhere,  barricades  were  up,  and 
the  streets  were  full  of  combatants  while  he  was  painting  the  Pont 
au  Change.  So  he  closed  his  colour-box,  folded  up  his  easel,  and 

c xi 


COROT 


went  home  ; then  hurried  to  catch  the  coach  for  Chartres,  where 
he  awaited  events.  There  he  produced  many  studies  and  sketches, 
broadened  his  style,  and  painted  the  beautiful  clear  view  of  the 
Cathedrale  de  Chartres. 

Returning  by  way  of  Burgundy  he  stops  at  Beaune  on  the 
banks  of  the  Bouzoise  and  the  Aigue,  goes  round  the  old  half- 
ruined  ramparts,  where  one  may  see  a fresh  landscape  at  every 
step — well-cultivated  gardens,  rocky  districts,  pools  covered  with 
water-plants,  wild  herbage,  and  rows  of  trees — all  contributing  to 
make  the  walk  round  the  old  Roman  city  one  of  the  loveliest  to 
be  found  in  France.  He  visits  the  almshouses,  a gothic  building, 
the  collection  of  paintings  by  primitive  Flemish  masters,  and  the 
art  museum.  In  his  journey  from  Beaune  to  Dijon  he  keeps  to 
the  vine-stocked  hillside.  What  delights  him  most  at  Dijon  is  not 
the  superb  park,  nor  the  avenue  leading  thereto,  nor  the  ducal 
palace,  nor  the  parliament  house,  nor  the  churches,  but  once  more 
the  walk,  now  demolished,  which  followed  the  line  of  ancient 
stone-work — a walk  lined  by  trees  of  all  sorts,  entangled  with  ivy 
and  bindweed  and  climbing  plants  innumerable,  whose  roots,  run- 
ning through  the  interstices  of  the  masonry,  throw  off  shoots  right 
as  far  as  the  roadway. 

When  Corot  saw  Paris  again  Louis  Philippe  occupied  the  place 
of  Charles  X.  ; affairs  were  settling  down  again,  and  a romantic  gust 
was  stirring  literature  and  art.  In  1831  there  was  an  exhibition 
at  the  Louvre.  Corot  sent  four  canvases  : ha  Foret  de  Fontainebleau , 
two  Vues  d'ltalie , and  a Couvent  sur  les  bords  de  /’ Adriatique.  These 
works  attracted  no  notice,  save  on  the  part  of  Jal,  who  paused  to 
remark  that  “ the  colour  is  too  uniform,  the  touch  lacks  accent, 
and  the  painting  is  flat  and  heavy.” 

To  the  Salon  of  1833  Corot  sent  his  Madeleine  en  priere , which  won 
him  a medal.  The  critics  complained  that  this  picture  was  cut  in 
two  by  the  horizon  being  placed  too  low.  But  perhaps  it  were 
better  to  accept  the  opinion  of  Philippe  Burty,  who  sees  in  this 
picture  the  breaking  away  from  historical  landscape  and  the  apogee 
of  Corot’s  first  manner. 

Even  in  those  days  there  were  landscape  reformers.  At  their 
head  were  Paul  Huet,  Rousseau,  and  Dupre.  Paul  Huet,  inspired 
by  Constable,  supplied  the  impulse.  Huet  and  Constable  both  had 
an  influence  over  Corot.  Constable,  not  properly  appreciated  in 
England,  had  won  a gold  medal  at  the  Paris  Salon  of  1824,  and 
had  conquered  the  French  public  to  such  an  extent  that  the  academic 
critics  became  uneasy.  They  protested  against  the  infatuation,  and 
c xii 


COROT 


asked  sternly  of  the  young  painters  : “ What  resemblance  do  you 
find  between  these  paintings  and  those  of  Poussin,  which  we  must 
always  admire  and  take  as  our  models  ? Beware  of  this  English- 
man’s pictures,  they  will  be  the  ruin  of  the  School.  There  is  no 
beauty  therein,  nor  style  nor  tradition.”  To  which  Constable  replied: 
“ Doth  bother  yourselves  about  doctrines  and  systems  ; go  straight 
ahead  and  follow  your  nature.” 

In  1834  Corot  sent  to  the  Salon  three  canvases,  including  a Vue 
de  la  Foret  de  Fontainebleau , and  a Fpuai  de  Rouen ; after  which  he 
organised  a journey  to  Italy  with  a painter  friend,  M.  Grandjean. 
Before  exploring  the  Apennines  the  two  travellers  stayed  in  the 
French  districts  of  the  south-east.  Then  Corot  was  recalled  to 
Paris  on  account  of  his  father’s  illness,  and  there  he  painted  the  por- 
traits of  his  family.  He  always  liked  to  go  from  landscape  to 
figure-work.  An  amateur  expressing  surprise  at  this  Corot  re- 
marked : “ I’ve  done  at  least  twenty  figures  a year,  but  call  it  ten 
only  : you  see  what  that  means  in  fifty  years.”  Most  of  these  works 
are  unknown  to  the  public,  including  a portrait  of  himself  painted 
before  his  first  journey  to  Rome.  He  did  not  care  to  exhibit  his 
portraits.  When  any  one  advised  him  to  show  these  large  figures  of 
his  he  would  reply  : “ How  can  you  think  of  such  a thing  ! I 
haven’t  been  forgiven  yet  for  my  small  ones  ! ” 

He  completed  his  Agar  dans  le  Desert  from  new  sketches  made 
in  Tuscany,  and  exhibited  it  in  the  Salon  of  1835,  together  with  a 
Vue  prise  a Riva  on  the  banks  of  the  Lac  de  Garde.  It  was  on 
this  occasion  that  one  of  the  critics,  M.  Charles  Lenormand,  wrote 
these  singular  lines  : “ M.  Corot,  tired  of  the  struggle,  has  quitted 
our  hollow  paths  and  wooded  glades ; he  has  seen  Italy  once  more, 
and  found  again  those  vast  horizons  above  limpid  distances  he  suggests 
so  well ; and  his  talent,  which  had  gone  just  a little  astray,  has  faith- 
fully returned  to  him.”  The  writer  imagines  that  the  only  landscapes 
are  to  be  found  beyond  the  Alps,  and  that  those  around  us  are  wanting 
in  grandeur  and  beauty  and  grace.  The  same  critic  would  deny 
Corot  that  which  precisely  constitutes  his  glory  : “ His  touch,”  he 
observes,  “ is  heavy  and  dull  ; the  suppleness,  the  humidity,  the 
charm  of  Nature,  he  knows  nothing  of.”  Then  comes  the  well-known 
and  absurd  theory  of  the  historical  landscape — the  harmony  between 
the  spot  and  the  subject. 

In  the  Salon  of  1836  there  were  but  two  of  Corot’s  works  to  be 
seen  : Diane  surprise  au  bain  and  Campagne  de  Rome  en  hiver.  The 
same  year  Corot  did  a lithograph  to  illustrate  La  Caisse  d'Fpargne, 
a vaudeville  by  Edouard  Delalain  and  Saint-Yves.  It  represents 

c xiii 


COROT 


Mile.  Rosalie  in  the  part  of  la  mere  Boisseau.  In  1837  he  showed 
his  Saint  'Jerome  (which  he  presented  in  1849  to  t^e  church  at  V ille 
d’Avray),  a Soleil  Couchant , and  a Vue  prise  dans  Idle  dl  Ischia.  In 

1838  his  exhibits  were  Le  Silene  and  Vue  prise  a Volterra , and  in 

1839  the  Site  d’ It a lie  and  the  Soir,  which  inspired  Theophile  Gautier 
with  the  following  lines  : 

Mais  void  que  le  soir  du  haut  des  monts  descend ; 

L’ombre  devient  plus  gaie  et  va  s’elargissant ; 

Le  del  vert  a des  tons  de  citron  et  d’orange. 

Le  couchant  s’amincit  et  va  plier  sa  frange 
La  cigale  se  tait  et  l’on  n’entend  de  bruit 
Que  le  soupir  de  l’eau  qui  se  divise  et  fuit. 

Sur  le  monde  assoupi  les  heures  taciturnes 

Tordent  leurs  cheveux  bruns,  mouilles  de  pleurs  nocturnes; 

A peine  reste-t-il  assez  de  jour  pour  voir, 

Corot,  ton  nom  modeste,  ecrit  dans  un  coin  noir. 

For  fifteen  years  Corot’s  pictures  were  accepted  at  the  Salon,  out  of 
charity,  as  it  were,  and  stuck  in  the  darkest  corners.  “ Alas  ! ” he 
exclaimed,  “ I am  in  the  catacombs.”  All  this  distressed  him,  not 
on  his  own  account — lor  he  would  console  himself  by  saying,  “ I 
still  have  my  gift  ! ” — but  rather  on  account  of  his  family,  who, 
fortunately,  continued  to  provide  him  with  “soup  and  shoe-leather.” 
H is  family,  indeed,  remained  deaf  to  the  concert  of  praise  begin- 
ning to  make  itself  heard.  Apropos  of  the  Petit  Berger , painted 
in  1840,  and  preserved  in  the  art  gallery  at  Metz,  M.  Alfred  Robaut 
tells  the  following  anecdote  : 

“Fran^ais,  who  frequented  Corot’s  studio — he  had  been  Corot’s 
pupil  for  some  years — took  it  into  his  head  to  lithograph  this  picture. 
Corot  took  a proof  of  it  to  his  father,  who  was  astonished  to  see  his 
son’s  name  at  the  bottom  of  a work  which  suddenly  pleased  him,  and 
was  also  signed  by  Fran^ais.  It  was  simply  the  lithograph  which 
attracted  the  worthy  man,  for  he  knew  the  picture  itself,  and  had 
found  it  no  more  attractive  than  any  of  the  others.  “ That’s  good, 
at  any  rate,  that  ! ” he  exclaimed,  “ Camille,  you  must  invite  this  M. 
Fran^ais  to  dinner.”  On  the  appointed  day  the  elder  Corot  seats 
Fran^ais  beside  him,  and,  almost  before  the  meal  has  begun, 
remarks,  “ Monsieur  Franfais,  I must  congratulate  you  on  your 
great  talent.  You  have  done  a superb  work  ; but  Camille  .... 
what  do  you  think  of  him?  Will  he  ever  do  anything?”  And 
all  the  evening  the  conversation  turned  on  the  same  subject  : sarcasms 
at  the  expense  of  the  master,  whose  works  were  treated  as  unsaleable 
daubs,  compliments  for  the  pupil,  who  might  have  thought  the 
c xiv 


COROT 


whole  thing  a bad  joke  had  he  not  known  these  good  folks’  simple, 
cordial  nature.” 

Can  one  imagine  the  former  dressmaker  of  the  Rue  du  Bac 
measuring  her  son  for  a flannel  vest  when  he  was  nearly  fifty  years 
old,  and  at  sight  of  his  broad  thorax,  hairy  chest  and  muscular  arms, 
exclaiming,  “To  think  this  is  a son  of  mine  ! He’s  common- 
place enough  ! ” Whereupon  honest  Corot  would  reply,  jokingly, 
“ On  the  contrary,  you  should  congratulate  yourself  on  having  given 
birth  to  one  of  the  three  sages;  for  since  the  beginning  of  the 

world  there  have  been  Socrates,  Jesus  Christ,  and 1.”  This 

tutelage  under  which  Corot  lived  to  an  advanced  age  is  perhaps  one 
of  the  causes  which  explain  the  perpetual  youthfulness  of  his  mind, 
the  constant  freshness  of  his  talent.  He  always  had  the  feeling  that 
he  was  still  the  baby,  the  school-boy,  or  the  draper’s  assistant,  in  fear 
of  family  lectures  and  reprimands  from  his  master. 

Three  of  Corot’s  works  figured  in  the  Salon  of  1840:  A So/eil 
Couchant , the  Fuite  en  Egypte  and  a Moine.  The  “ Flight  into  Egypt” 
now  belongs  to  the  Church  at  Rosny,  near  Mantes,  to  which  it  was 
presented  by  Corot  through  the  instrumentality  of  a friend  of  his 
family,  Mme.  Osmond.  Of  the  “ Sunset”  Gustave  Planche  remarks 
that  “ its  aspect  is  delicious,  and  it  gives  one  the  same  pleasure  as 
reading  some  beautiful  old  idyll.” 

I have  chosen,  in  order  to  mark  the  several  stages  in  the  artist’s 
career,  the  works  he  sent  to  the  Salons,  because  Corot  always  had  a 
marked  infatuation  for  these  exhibitions,  and  because  the  works  he 
sent  there  were  always  chosen  with  care,  and  showed  some  evolution, 
some  advance,  in  his  manner.  In  1841  the  Salon  saw  three  canvases: 
Un  Site  des  environs  de  Naples , Democrite  et  les  Abderitains , and  La 
Fontaine.  Of  the  live  paintings  submitted  in  1842  the  judges  refused 
three.  The  two  canvases  accepted  were  a Site  d’ltalie , and  the  Ferger 
which  was  commissioned  by  the  Minister  of  the  Interior.  Corot 
parted  with  the  first  of  these  pictures  to  offer  it  to  the  little  gallery 
at  Semur,  in  memory  of  a certain  connection  his  family  had  with 
that  part  of  Burgundy. 

In  this  same  year,  1842,  Corot  paid  his  last  visit  to  Italy.  After 
this  date  he  passed  his  summer  either  in  Switzerland,  in  Normandy, 
or  in  Brittany,  whence  he  always  returned  with  an  ample  collection 
of  studies  and  sketches.  While  staying  at  Mortain  he  came  across 
the  son  of  his  former  master,  M.  Delalain,  who  still  preserved  five 
portraits  which  Corot  had  painted  in  his  employe  days — these  portraits 
representing  the  whole  Delalain  family. 

From  Italy  he  brought  back  a Vue  des  "Jardins  de  la  Villa  d'Lste , 

C XV 


COROT 


which  he  intended  for  the  Louvre  ; but  it  was  not  accepted.  He  at 
once  set  about  arranging  his  display  for  1843.'  Of  his  three  pictures 
— Jeunes  Fil/es  au  Bain , Un  Soir,  and  Li Incendie  de  Sodome — the  jury 
refused  one,  the  last-named,  the  subject  of  which  he  had  found  in 
Brittany.  By  way  of  compensation  he  received  a commission  for 
a decorative  painting  intended  for  the  church  ot  Saint-Nicolas-du- 
Chardonnet.  It  is  called  Le  Bapteme  du  Christ , and  Delacroix  criti- 
cises it  in  these  terms  : 

“ Corot  is  a real  artist.  One  must  see  a painter  at  home  to  get 
an  idea  of  his  merits.  I have  seen  again,  and  appreciated  quite  dif- 
ferently, pictures  which  I had  seen  in  galleries  and  which  there  had 
impressed  me  but  slightly.  His  large  Bapteme  du  Christ  is  full  of 
simple  beauty.  ...  his  trees  are  superb.  I spoke  to  him  about 
the  tree  I have  to  do  in  Orphee  (for  the  library  of  the  Palais  Bour- 
bon). He  told  me  to  go  a little  beyond  myself,  and  give  myself  up 
to  whatever  came  to  me.  This  is  what  he  does,  generally.  He  will 
not  admit  that  one  can  succeed  by  taking  infinite  pains.  Titian, 
Raphael,  and  Rubens,  all  worked  easily.  They  only  added  to  reality 
that  which  they  knew  thoroughly.  . . . This  facility  notwith- 

standing, there  is  always  the  inevitable  labour.  Corot  ponders  long 
over  an  object  ; his  ideas  begin  to  come,  and  he  adds  to  them  while 
working  ; it  is  a good  system.” 

It  was  proposed  to  entrust  Corot  with  the  decoration  of  another 
panel  in  the  same  church,  but  the  painter  declined  on  account  of  the 
administrative  formalities,  saying  he  would  be  glad  to  see  this  com- 
mission given  to  some  impecunious  brother  painter.  A newspaper 
of  the  period  attributed  this  second  picture  to  Corot,  remarking 
that  in  the  first  he  had  shown  more  personality.  “ Really,”  said 
Corot,  “ it  were  impossible  to  formulate  a more  judicious 
criticism.” 

Corot  was  infinitely  endowed  for  this  mural  painting,  but  oppor- 
tunities of  proving  his  ability  were  few  and  far  between.  He  was 
obliged  to  take  advantage  of  the  offers  made  by  friends  who  begged 
him  to  decorate  their  houses,  at  Mantes,  at  Rosny,  and  at  Auvers. 
One  day  he  had  come  from  Rosny  to  Mantes  to  visit  Me.  Robert, 
a notary,  and  observed  some  workmen  engaged  in  painting  a bath- 
room. Sending  his  “ confreres  ” away,  he  took  possession  of  their 
paint-pots,  and  himself  did  the  four  panels,  which  have  been  pre- 
served, if  not  respected  ; for  the  owner  ot  the  house  thought  fit 
to  have  added  to  one  a little  dog,  and  to  another  a white  rabbit. 
After  this  Corot  decorated  the  walls  of  the  kiosk  standing  near 
his  relations’  property  at  Ville  d’Avray,  and  then  did  the  houses 
c xvi 


thf  pnm 


COROT 


of  Daubigny  and  Decamps,  the  church  at  Rosny,  and  that  of 
Ville  d’Avray.  He  would  have  liked  to  cover  the  walls  of  some 
prison  with  his  paintings.  Said  he  : “I  would  have  shown  these 
poor  creatures  the  country  in  my  own  fashion,  and  I believe  I 
would  have  converted  them  to  goodness  by  bringing  them  the 
pure  blue  sky.” 

In  1844  Corot  returned  to  the  Salon  his  Incendie  de  Sodome , which 
was  accepted,  together  with  a couple  of  landscapes.  In  1845  he 
sent  three  pictures  : Homere  et  les  Bergers , Daphnis  et  Ghloe\  and 
a landscape.  The  “ Homer  ” is  now  in  the  gallery  of  Saint  Lo. 
About  this  time  Corot  attempted  etching  by  means  of  his  Sou- 
venir de  Toscane , a plate  signed  simply  with  the  initials  “ C.  C.” 
This  was  retouched  later,  and  reproduced  in  the  “ Gazette  des 
Beaux  Arts”  of  April  1,  1875. 

A solitary  picture  of  Corot’s  figured  in  the  annual  exhibition 
of  1846,  two  having  been  rejected.  This  was  his  Vue  de  la  Foret  de 
Fontainebleau , which  earned  for  the  artist  the  Cross  of  the  Legion  of 
Honour.  This  caused  his  father  to  remark  : “ I think  we  must 
give  Camille  a little  more  money.” 

The  following  year  he  exhibited  a Soir  and  a Berger  jouant  avec  sa 
Chevre.  Gustave  Planche  described  the  Soir  as  “ a pearl  for  which 
there  would  be  keen  competition  among  amateurs."  Theophile 
Gautier,  on  the  other  hand,  while  admiring  the  work,  gave  the 
following  erroneous  analysis  of  Corot’s  talent  : “ It’s  a strange 

talent,  that  of  M.  Corot  : he  has  the  eye,  without  the  hand  ; he 
sees  like  a consummate  artist  and  paints  like  a child  who  has  had  a 
brush  put  between  his  thumb  and  forefinger  for  the  first  time  ; he 
hardly  knows  how  to  hold  the  brush  and  apply  the  colour  to  the 
canvas.  Well  ! even  this  doesn’t  prevent  M.  Corot  from  being  a 
great  landscapist  : a love  of  Nature,  a sense  of  poetry  and  artistic 
intelligence  make  up  for  all  this  ; this  bungler  achieves  astonishing 
results,  such  as  are  never  attained  by  the  most  consummate  dexterity. 
Th  is  thick,  heavy  touch,  hesitating  as  it  seems,  obtains  effects  im- 
possible to  the  facile  brush  which  travels  faster  than  the  brain.” 
Thore,  in  the  “ Constitutionnel,”  ranked  the  Soir  above  the  Berger , 
but  he  considered  its  execution  “ embarrassed  ” and  its  colouring 
“ dull  and  ill-put-on.” 

Although  press  and  public  alike  were  discussing  Corot,  his 
pictures  either  did  not  sell  at  all,  or  fetched  very  low  prices,  as  is 
proved  by  the  following  letter  addressed  by  the  artist  to  a provincial 
collector,  M.  Dutilleux,  of  Arras,  who  became  a friend  and  in  a way 
a pupil  : 

c xvii 


COROT 


“ Ville  d’Avray,  May  20,  1847. 

Sir, 

I have  received  your  kind  letter  wherein  you  announce  your  in- 
tention of  having  something  by  me.  I am  greatly  flattered  by  this  dis- 
tinction on  your  part,  and  will  hasten  to  send  you  on  a small  canvas, 
according  to  your  instructions.  I should  like  to  know  whether  you 
would  prefer  to  have  a study  from  Nature  or  a composition.  The 
price  of  these  would  be  200  francs.  The  studies  measure  from  12  to 
15  inches. 

Awaiting  your  reply,  Sir,  I have  the  honour  to  be, 

Yours  faithfully, 

C.  Corot  fils.” 

It  was  about  this  sale  that  Corot  said  to  one  of  his  friends  : “ At 
last  I’ve  sold  a picture,  and  I’m  sorry  for  it.  It  will  be  missing  from 
the  complete  collection.”  The  artist  at  the  age  of  50  signed  himself 
“ Corot  fils  ” for  the  reason  that  during  nearly  the  whole  year  he 
lived  with  his  parents  at  Ville  d’Avray,  and  because  the  purchaser’s 
letter  had  been  opened  by  Corot  pere,  who  thought  it  must  have 
come  from  some  artist-friend  of  his  son’s,  so  utterly  improbable 
seemed  the  existence  of  a genuine  amateur  buyer.  In  this  same  year 
the  old  man  died,  never  having  realised  the  fame  or  the  talent  of 
his  son. 

Eighteen-forty-eight  was  an  eventful  year,  quite  apart  from  the 
revolution  of  February.  Corot,  who  hitherto  had  had  some  of 
his  pictures  rejected  each  year,  sent  nine  canvases  this  time, 
and  all  were  accepted.  What  had  happened  ? Simply  this  : the 
judges  were  elected  by  the  artists  by  ballot.  Corot  was  one  of  those 
chosen,  being  ninth  on  the  list,  with  353  votes  out  of  801.  Among 
his  pictures  were  : Site  d1  It  a lie , Interieur  de  Bo  is,  Vue  de  Ville  d'Avray , 
Une  Matinee , Crepuscule,  Un  Soir,  Eff'et  du  Matin , and  Un  Matin.  The 
Site  d' It  a lie , which  was  purchased  by  the  State,  is  in  the  Douai 
Gallery.  Theophile  Gautier  wrote  a beautiful  passage  in  celebration 
of  the  freshness  of  these  mists  of  morning,  this  Nature  half-awake. 
“ Landscapists,”  said  he,  “ do  not  usually  rise  so  early  as  that.”  Corot 
indeed  had  only  to  go  out  at  dawn,  from  the  house  which  his  family 
had  owned  since  1817,  to  be  present  at  Nature’s  awakening  over  the 
pool  of  Ville  d’Avray,  the  woods  of  Garches  and  Marnes  and 
Villeneuve  l’Etang  and  Saint-Cloud.  The  scene  is  always  lovely 
and  full  of  life.  From  the  other  side  of  the  water,  on  the  edge  of 
which  stands  a bust  of  Corot  on  a pedestal  of  stone — the  work  of 
Geoffroy  Dechaume — the  giant  trees  embrace  at  their  tops  and  mix 
c xviii 


COROT 


the  colours  of  their  leaves,  the  pale  quivering  poplar  mingling  with 
the  deep  green  of  the  chestnut,  ferns  grow  in  plenty  in  the  soil,  and 
all  around  is  verdure  and  bloom,  shadow  and  light. 

In  1849,  Corot  was  again  one  of  the  judges,  being  elected  tenth 
by  217  votes  in  646.  His  exhibits  were  : Le  Christ  au  J ar din  des 
Oliviers , Vue  prise  a Volterra , Site  du  Limousin , Vue  prise  a V die 
d' Avray,  and  Etude  du  Colisee.  At  this  period  Corot’s  second  manner 
may  be  characterised  as  simply  naturalistic.  More  and  more  closely 
he  succeeds,  by  his  fluid,  delicate  painting,  in  expressing  the  striking 
appearance  of  things  in  the  light.  His  Christ  of  1849  is  in  the 
Langres  Gallery. 

In  1850  Corot  was  elected  a member  of  the  “Jury  de  Peinture  ” 
by  330  votes  out  of  615.  His  exhibit  that  year  consisted  of  a Lever 
de  Sole  'll , Etudes  prises  a Ville  d'Avray , a Site  du  Tyrol  Italien , and 
Une  Matinee , with  dancing  nymphs  rejoicing  at  the  return  of  day. 
These  nymphs  were  adversely  criticised.  The  picture  was  evidently 
a reminiscence  of  the  classical  style  of  composition,  but  it  also  repre- 
sented Corot’s  own  fancy  animating  the  dusk  rising  over  the  water, 
and  lingering  on  the  ground.  The  essential  thing  is  that  he  depicted 
these  forms  with  truest  touch,  in  rhythmical  movement,  with  an 
exact  sense  of  values.  This  does  not  mean  that  he  evaded  reality. 
He  did  not  shut  his  eyes  to  the  labourer  driving  his  plough  along 
the  fields,  or  to  the  reapers  and  haymakers  in  harvest  field  and 
meadow,  or  to  the  woodcutter  trimming  the  coppice  or  cutting 
down  the  tall  forest  trees,  or  to  the  shepherd  gathering  his  flock,  or 
to  the  boatmen  and  fisher  folk  of  the  lakes  and  rivers. 

There  was  no  Salon  in  1851.  However,  Corot  had  prepared  a 
Danse  des  Nymphes , composed  with  the  aid  of  studies  done  in  Rome  in 
1826,  a Matin , and  a Ronde  d'Enfants.  That  year,  Corot,  having  got 
his  mother’s  leave  of  absence — “ liberte  de  s'envoler  ” he  calls  it — goes 
off  to  Arras  to  join  the  amateur  painter,  Dutilleux.  Thence  he  goes 
on  to  La  Rochelle  to  stay  with  a family  at  whose  house  Courbet  is 
also  a visitor.  The  two  artists  are  but  very  slightly  acquainted,  and 
the  Burgundian  and  the  Franc-Comtois  look  curiously  at  one  another. 
Corot  is  the  sturdy  fellow  who  once  in  the  South  got  rid  of  a 
troublesome  peasant  by  knocking  him  down  with  a blow  of  the  list. 
Courbet  is  garrulous  and  boastful,  and,  like  many  of  his  countrymen, 
as  simple  as  conceited.  The  two  men  discuss  things,  and  then  each 
goes  off  to  paint  in  his  own  way.  In  this  same  year  Corot  makes  a 
trip  to  England.  At  the  Duke  of  Westminster’s  gallery  he  takes  a 
few  notes  which  have  been  found  in  a pocket-book : “ 2 Claude 
Lorrains  (2  Soirs)  ; 1 Raphael,  big  picture  (Virgin,  Child  Jesus  and 

c xix 


COROT 


St.  John  the  Baptist — admirable)  ; i Rembrandt,  landscape  ; i Sal- 
vator (io  to  12  feet)  ; i Hobbema,  very  fine.”  It  is  said  that  after 
this  visit  he  resolved  to  lower  his  horizons. 

In  1852  the  management  of  the  Salon  was  altered.  The  jury  con- 
sisted of  fifteen  members  nominated  by  the  Administration  des  Beaux- 
Arts,  and  five  elected  members.  Corot  was  elected  as  supplementary 
judge  by  59  votes  out  of  330.  He  displayed  Repos , a Soleil  Couchant , 
and  a Vue  du  Port  de  la  Rochelle , and  the  following  year  Une  Matinee , 
a Coucher  de  Soleil , and  a Saint  Sebastien , which  Delacroix  declared  was 
perhaps  the  most  religious  picture  of  the  century. 

Corot,  although  reluctant  to  leave  his  widowed  mother,  neverthe- 
less travelled  a good  deal  about  this  time  in  the  Nord,  in  Brittany, 
and  in  Normandy.  In  1854,  there  being  no  exhibition,  he  accom- 
panied Dutilleux  as  far  as  Rotterdam.  In  1855  the  annual  Salon  was 
merged  in  the  Universal  Exhibition.  Corot  figured  among  the  thirty- 
four  judges  appointed  by  Napoleon  III.  He  sent  six  canvases  : 
Effet  de  Neige,  Souvenir  de  Marconsey , Pr intemps , Soir,  Souvenir  d'ltalie , 
and  Une  Soiree.  In  the  same  year  he  worked  at  his  Chemin  de  Croix 
for  the  church  at  Rosny  ; also  he  did  a picture,  composed  from  views 
of  Riva,  for  the  Marseilles  gallery,  and  then  went  off  on  his  travels 
until  the  end  of  October.  On  his  return  he  wrote  to  Dutilleux  : 

“ . . . . Here  I am  back  in  the  studio,  after  going  through  Nor- 
mandy and  Brittany,  and  doing  a bit  of  the  Lake  of  Geneva,  La 
Sologne  and  Ville  d’Avray — as  much  as  I possibly  could.  I have  a lot 
to  do,  and  so  many  old  pictures  to  finish  in  order  to  get  them  out  of 
the  way,  as  the  studio  is  rather  too  crowded  ! Another  twenty  studies 
this  year  ; five  or  six  of  them  are  good,  so  I must  be  content  with 
that.  If  I take  that  little  trip,  we’ll  talk  about  the  Exhibition  ; every 
one  seems  fairly  well  satisfied  with  mine.” 

The  manner  in  which  Corot  took  note  of  values  in  his  sketches  may 
be  mentioned  here.  If  he  observed  a bit  of  colour  composed  of  four 
different  tonalities,  he  would  give  each  a number,  varying  from  1 to  4. 
This  numbering  enabled  him  to  note  his  effects  very  rapidly  while 
going  through  a landscape,  either  in  a carriage  or  a railway  train — a 
mnemonic  system  of  fixing  the  fugitive  impression  of  anything  seen  or 
remembered.  Herein  lies  the  delicious  charm  of  Corot’s  painting. 

In  1857  the  Academie  des  Beaux-Arts,  constituted  into  a jury, 
decided  the  fate  of  the  works  sent  to  the  Salon.  Corot  exhibited  his 
Incendie  de  So  dome,  a Nymphe  jouant  avec  P Amour,  a Concept,  a Soleil 
Couchant,  a Soir,  a Souvenir  de  Ville  d'Avray,  and  a Matinee.  The 
“Burning  of  Sodom”  was  the  picture  which  figured  in  the  Salon  of 
1844 — Corot  had  simply  reduced  its  dimensions  by  taking  fifty  centi- 
c xx 


COROT 


metres  off  its  height.  In  this  same  year  Castagnary,  just  starting  as 
art  critic  on  the  Steele,  makes  the  queer  remark  that  “he  has  always 
had  for  Corot  a mixture  of  love  and  kindly  pity.”  Proceeding,  he 
says,  no  less  strangely,  “I  don’t  know  where  this  excellent  man,  whose 
manner  is  so  gently  moving,  goes  to  paint  his  landscapes;  I have 
never  seen  them  anywhere.  But  such  as  they  are  they  have  infinite 
charm.”  The  Concert  was  ridiculed,  not  on  account  of  the  work 
itself,  but  for  the  choice  of  the  subject.  Nevertheless,  Corot’s  idea 
was  quite  simple  and  quite  admissible.  He  wanted  to  unite  and  to 
symbolise  two  things  which  he  loved  beyond  all  else : the  country  and 
music.  He  had  a nice  voice,  and  would  sometimes  sing  at  parties,  on 
condition  that  there  were  not  more  than  fifteen  people  present.  He 
used  to  go  to  the  Opera,  and  to  the  Symphonic  Concerts.  On  the 
other  hand,  he  read  very  little.  Sometimes  he  would  buy  books  at 
random  on  the  quays,  but  simply  in  order  to  amuse  his  models.  One 
day  in  his  studio  his  friends  found  a woman,  resting  after  her  pose, 
reading  a Latin  work  by  Cujas.  As  for  Corot  himself,  reading 
“Polyeucte”  was  enough  for  him.  He  saturated  his  mind  with  Cor- 
neille’s tragedy,  without  ever  getting  to  the  end ; for,  twenty  years 
after  beginning  it,  he  remarked  one  day:  “This  year  I really  must 
finish  ‘Polyeucte.’”  He  never  read  the  newspapers,  and  knew  nothing 
that  was  going  on.  On  the  23rd  of  February,  1848,  to  a visitor  who 
was  talking  to  him  of  Louis  Philippe  and  Guizot,  he  innocently  re- 
marked, “Certainly  people  seem  to  be  dissatisfied.”  Notwithstanding 
this,  only  a few  days  later  he  left  his  mother  and  went  from  Ville 
d’Avray  to  Paris,  to  get  his  equipment  as  a Garde  National.  “He 
wanted  to  be  near  the  danger.”  With  the  same  prudent  reserve  he 
once  remarked,  “M.  Victor  Hugo  seems  to  be  pretty  famous  in  litera- 
ture.” This  excellent  man,  of  whom  the  crowd  knew  nought,  and 
whose  genius  was  recognised  only  by  a few  artists  and  persons  of 
delicate  taste,  was  quite  ignorant  about  his  contemporaries,  with  the 
exception  of  the  painters,  and  most  of  these  he  regarded  as  his  superiors. 
Of  Delacroix  he  said  one  day,  “He  is  an  eagle  and  I am  only  a lark, 
singing  little  songs  in  my  grey  clouds.” 

Corot  spent  a part  of  the  year  1857  at  Ville  d’Avray,  paid  several 
brief  visits  to  Brittany,  when  he  went  to  see  Camille  Bernier  ; he  was 
also  in  Switzerland  and  at  Dunkirk.  There  was  no  Salon  in  1858, 
but  an  auctioneer,  M.  Boussalon,  suggested  a sale,  in  order  to  feel  the 
pulse  of  the  public.  Corot  hesitated  long.  Certainly  he  could  not  sell 
his  pictures  ; on  the  contrary,  he  was  more  accustomed  to  buying  them 
back.  More  than  once  he  regained  possession — for  a consideration 
— of  pictures  he  had  “ lent  ” to  pupils  or  to  fellow-artists.  To  try  a 

c xxi 


COROT 


public  auction  seemed  to  him  to  be  very  risky.  Still  he  had  in  reserve 
such  a stock  of  works  that  perhaps  he  might  part  with  some  of  them. 
Only  a short  time  before  a visitor  had  asked  him,  “Have  you  insured 
your  studio  against  fire  ? If  there  were  to  be  one  here  you  would 
lose  at  least  forty  thousand  francs  worth  of  paintings.  I once  had  a 
friend  whose  gallery  was  destroyed,  and  the  indemnity  he  received 
consoled  him  for  the  loss  of  his  pictures.”  “ He  hadn’t  done  them,” 
interrupted  Corot,  excitedly  ; “if  such  a misfortune  befel  me,  it  would 
kill  me.”  Eventually  Corot  entrusted  thirty-eight  pictures  to  the 
ministerial  official ; among  them  were  five  large  canvases.  The  sale 
realised  14,233  francs — about  ^57 o.  The  auctioneer  was  ashamed 
of  such  a sum — Corot,  on  the  other  hand,  thought  it  so  high  he 
could  hardly  believe  it. 

The  same  year,  urged  by  one  of  his  intimate  friends,  M.J.  Michelin, 
and  assisted  by  the  advice  of  Bracquemond,  Corot  resumed  his  etching 
work.  He  etched  the  Bateau  sous  les  Saules , the  subject  of  which 
was  taken  from  one  of  the  lakes  at  Ville  d’Avray. 

In  the  Salon  of  1859  Corot  exhibited  Dante  et  Virgile  (in  which  the 
animals  were  drawn  by  Barye),  Macbeth , Idylle , Pay  sage  avec  Figures , 
Souvenir  du  Limousin , Tyrol  Italien , and  Etude  a Ville  d'Avray. 
Castagnary,  when  he  admires  Corot,  seems  to  do  so  regretfully,  and 
the  conclusion  he  arrives  at  is  pitiless.  “ No  truth  in  his  invention, 
no  variety  in  his  tones  and  in  his  lines  : his  composition  is  uniform, 
his  colour  impossible,  his  drawing  false  and  perpetually  slack.” 
Despite  these  condemnations  Corot  does  not  lose  faith  in  his  work, 
nor  his  fondness  for  truth.  In  the  month  of  August  we  find  him  at 
Montlhery,  whence  he  writes  to  one  of  his  pupils,  named  Auguin, 
living  at  Bordeaux  : “ I am  just  back  from  a long  visit  to  Normandy, 
and  I am  off  again  to  Switzerland  with  several  friends.  I recom- 
mend to  you  the  greatest  possible  simplicity  in  your  work;  above  all, 
do  just  as  you  see.  Have  confidence  in  yourself,  and  take  for  your 
motto,  ‘ Conscience  et  confiance.’  Je  vous  embrasse  bien.  I’m 
working  away  like  a big  ruffian.” 

No  Salon  in  i860,  but  in  the  following  year  Corot  displays  six  works  : 
Le  Repos , Souvenir  d'  Italic  ^ Le  Lac , Orphee , Sole  'll  Levant , Danse  de 
Nymphes.  “Orpheus”  was  inspired  by  a revival  of  Gluck’s  opera, 
and  the  goddess  in  the  picture  is  Madame  Viardot.  In  this  case 
Castagnary  admires  the  landscape,  “ so  suave  in  its  expression  that  the 
tongue  of  Virgil  alone,  in  its  pure  and  tender  tones,  could  echo  and 
express  it.”  Theophile  Gautier,  on  the  other  hand,  is  dissatisfied. 
Orphee  is  not  particularly  to  his  liking.  “This  strange  unbroken 
silhouette  of  a Eurydice,  stiff  as  a doll,  would  provoke  one  to 
c xxii 


COROT 


laughter,  if  it  were  possible  to  laugh  at  our  excellent  Corot,  so 
devoted  to  his  art,  so  hardworking  and  deeply  convinced.  Happily 
he  is  entirely  himself  in  his  Soleil  Levant , in  his  Souvenir  d.'  Italie , and 
in  his  Lac , with  its  silvered  atmosphere,  its  luminous  vapour,  its 
placid  waters,  its  bright  trees  and  its  Elysian  aspect.”  In  the  same 
year  Corot  etched  the  Etang  de  Ville  d'Avray , which  exists  in  three 
states.  One  of  them  illustrated  Edmond  Roche’s  “ Poesies 
Posthumes,”  dedicated  to  Corot. 

Again  there  was  no  Salon  in  1862,  but  in  1863  Corot  was  repre- 
sented by  a Soleil  Levant,  an  Etude  a Ville  d' Avray,  and  an  Etude  a 
Mery-sur-Oise.  In  1864  he  showed  Le  Coup  de  Vent  and  the  Souvenir 
de  Mortefontaine , which  was  purchased  for  the  Tuileries  ; in  1865 
the  Matin  or  the  Bacchante  aux  Amours , and  two  Souvenirs  d.' Italie,  one 
of  which,  done  in  the  neighbourhood  of  Lake  Nemi,  was  to  figure  in 
the  Exhibition  of  1867.  M.  Henri  Dumesnil  affirms  that  this 
masterpiece  in  its  first  state  was  a motif  of  Ville  d’Avray.  In  the 
same  Salon  was  seen  an  etching  with  the  same  title,  Souvenir  d Italie. 
There  was  some  talk  that  year  of  awarding  to  Corot  the  medaille 
d'honneur,  but  his  chance  was  spoilt  because  he  was  not  a historical 
painter.  This  disappointment  was  soon  forgotten  ; but  Corot  was 
greatly  grieved  at  the  death  of  his  friend,  Dutilleux,  his  first  pur- 
chaser and  also  his  pupil,  to  attend  whose  funeral  he  went  to  Arras. 
Corot  exhibited  two  canvases  in  1866  : Le  Soir , or  Fete  Antique , 
and  Solitude  (Limousin),  also  an  etching,  Environs  de  Rome.  In  that 
year  Corot  was  attacked  by  gout,  a disease  very  prevalent  in  Bur- 
gundy, whence  his  family  came.  M.  Henri  Dumesnil  tells  us  that 
Corot’s  grandfather  was  the  son  of  an  agriculturist  of  Mussy-la-Fosse, 
a village  near  Semur,  in  the  Cote  d’Or.  In  i860  Corot  went  to  visit 
some  distant  relatives  there  whom  he  had  traced,  and  remarked  in 
this  connection  : “ The  country  is  full  of  honest  workers  bearing  the 
same  name  as  myself.  In  the  fields  they  are  always  calling  to  one 
another,  ‘He  ! Corot  !’  You  hear  nothing  else.  I always  thought 
some  one  was  wanting  me,  and  I felt  there  quite  as  though  I were 
among  my  own  people.” 

To  the  Salon  of  1867  he  sent  Coup  de  Vent  and  a Vue  de  Marisselle , 
and  to  the  Universal  Exhibition  Saint-Sebastien , La  Toilette , Macbeth , 
Souvenir  du  Lac  de  Nemi,  a Matin,  a Soir,  and  the  Ruines  du  Chateau  de 
Pierrefonds ; as  in  185 5,  he  won  the  second  medal,  and  also  received 
the  Croix  d’officier  of  the  Legion  of  Honour;  and  the  honest  fellow 
in  his  happiness  exclaims,  “ I must  try  to  turn  out  good  pictures, 
to  show  I haven’t  stolen  it.” 

From  this  moment  Corot  became  really  popular.  The  dealers’ 

c xxiii 


COROT 


windows  were  full  of  his  canvases,  on  which  large  profits  were  made, 
the  more  so  as  the  artist  was  never  very  particular  about  his  prices. 
He  good-naturedly  fell  in  with  other  people’s  fancies  of  all  sorts — 
decorating  screens,  plates,  box-lids,  terra-cotta  work,  brooches,  and 
even,  it  is  said,  the  inside  of  a hat.  At  the  exhibition  of  Industrial 
Arts  he  had  two  painted  silk  screens,  done  for  M.  Duvelleroy,  who 
displayed  them  again  in  1858. 

In  1868  Corot  sent  to  the  Salon  a Soir  and  a Matin  a Ville  d* Avray. 
Castagnary  now  surrenders.  This  Soir  he  describes  as  “one  of  Corot’s 
blondest  and  most  harmonious  works.  From  it  there  springs  a 
poetry  so  penetrating,  so  victorious,  that  all  one’s  theories  in  favour 
of  precise  workmanship  strive  against  it  in  vain.”  The  same  year 
he  produced  an  etching,  Dans  les  Dunes , a souvenir  of  the  woods  of 
La  Haye,  which  was  reproduced  in  Andre  Lemoyne’s  “ Sonnets 
et  Eaux-fortes.” 

Two  canvases  were  seen  in  1870:  Paysage  avec  Figures  and  Ville 
cT Avray.  As  was  his  yearly  custom,  Corot  went  off  to  Ville  d’ Avray 
in  the  spring.  “ I go  there,”  said  he,  “ to  rest  myself  with  work. 
Think  of  it  ! I can’t  have  more  than  thirty  years  to  live,  and  they 
go  so  fast  ! Already  seventy-four  have  flown,  and  to  me  they  seem 
to  have  been  as  fast  as  the  journeys  of  one’s  dreams  . . . .” 

Then  came  the  declaration  of  war.  Corot  refused  to  leave  Paris  ; 
indeed  he  wanted  to  go  on  the  ramparts,  and  went  so  far  as  to  buy 
several  rifles.  But  physical  weakness  deterred  him.  So  he  worked 
away,  and  turned  everything  into  money  wherewith  to  relieve  the 
horrors  of  the  siege.  He  went  among  the  ambulances  and  hospitals, 
emptying  his  hands  and  his  pockets.  He  gave  a big  sum  for  “ the 
manufacture  of  the  cannon  required  to  drive  the  Prussians  out  of  the 
woods  of  Ville  d’ Avray.”  Then  later  he  sent  ten  thousand  francs  for 
the  liberation  of  the  country — a gift  which  he  afterwards  gave  to 
the  poor  of  the  tenth  arrondissement.  Instances  of  his  kindness,  his 
generosity  are  plenty.  He  bought  the  little  house  in  which  Daumier 
lived  at  Valmondois,  in  order  to  make  a present  of  it  to  the  artist, 
now  nearly  blind,  and  on  the  point  of  being  turned  out.  Daumier 
in  reply  told  Corot  he  was  “ the  only  man  he  esteemed  so  much  that 
he  could  accept  anything  from  him  without  blushing.”  One  morning 
an  artist  friend  came  to  borrow  five  thousand  francs.  Corot  was  ill 
that  day,  and  in  a bad  temper.  He  said  he  hadn’t  the  money. 
Then,  tormented  at  having  refused  his  friend,  he  thought  better  of  it, 
and  having  dressed,  hurried  off  to  the  borrower,  exclaiming  “Forgive 
me,  I’m  nothing  better  than  a canaille — I told  you  just  now  I hadn’t 
got  five  thousand  francs.  That  was  a lie  : here  they  are.”  An  Italian 
c xxiv 


■ 

■ 

. 

* 

■ 


' 


COROT 


model  came  to  him  one  day  with  two  daubs  which  he  was  trying  to 
sell,  in  order  to  get  his  sick  wife  back  to  her  native  land — “How  much 
do  you  want?”  asked  Corot.  “A  thousand  francs.”  Corot  gave  the 
money,  and  with  his  brush  transformed  the  two  “ infamies  doublees 
d'horreur ,”  and  presented  them  to  the  Italian.  A few  months  before 
his  death  he  sold  some  of  his  pictures,  and  on  being  paid  for  them, 
handed  to  the  dealer  a bundle  of  ten  thousand-franc  notes:  “Keep 
them,”  he  said,  “and  when  I am  gone  I want  you  to  give  an  annuity 
of  a thousand  francs  for  ten  years  to  the  widow  of  my  friend  Millet.” 
In  selling  his  pictures  Corot  had  a system  of  which  certain  unscru- 
pulous people  took  advantage.  His  custom  was  to  let  the  less 
prosperous  dealers  have  his  canvases  at  a low  price,  to  require  more 
from  buyers  of  the  middle  class,  and,  as  he  put  it,  to  “ saler  ” the  rich 
— that  is,  to  make  them  “pay  through  the  nose.”  Now  some  of 
these  latter  did  not  scruple  to  employ  agents  in  order  to  obtain  better 
terms. 

When  the  siege  was  raised  Corot  yielded  to  the  entreaties  of  M. 
Alfred  Robaut,  and  went  to  Arras  and  Douai.  He  painted  the  Beffroi 
de  Douai , wherein  he  figures,  standing  in  the  street,  dressed  in  his  long 
blouse.  Meantime  the  Commune  had  been  proclaimed  in  Pans,  and 
M.  Robaut  relates  that  he  often  had  great  trouble  in  checking  Corot’s 
ardour,  “for  every  moment  he  wanted  to  return  to  Paris,  to  share  the 
troubles  of  his  family  and  his  friends,  or  at  least  to  vote.”  It  was  not 
till  the  end  of  May  that  Corot  was  seen  in  Paris,  only  to  start  off  at 
once  for  the  North,  whence  he  returned  with  four  pictures:  the 
Moulin , the  Canal  de  la  Sen  see,  the  Route  d'Arleux , and  the  Chaumiere. 
This  same  year  he  engraved  several  eaux-fortes : Venus  coupe  les  Ailes 
de  1' Amour  (in  two  states,  unfinished  plates).  Souvenir  des  Fortifications 
de  Douai , and  the  Dome  Jlorentin — unsigned  and  unpublished  plates. 
Another  etching,  Les  Baigneuses,  was  spoilt  through  an  accident.  The 
unbitten  plate  was  sent  to  be  printed,  and  the  workman  took  off  the 
coating  of  varnish,  the  result  being  that  the  proof  simply  showed  the 
strokes  marked  by  the  point  on  the  metal. 

Back  in  Paris  in  July,  Corot  reassures  Mme.  Dutilleux  (his  friend’s 
widow)  as  to  the  state  of  his  health,  by  means  of  the  following  letter, 
which  is  sufficiently  curious  to  be  reproduced  in  the  exact  form  in 
which  it  was  written  : 


“Ville  d’Avray,  ce  3 Aout  1871. 

Madame  et  Amie, 

Je  sors  mes  lunettes  avec  rapidite  pour  vous  ecrire  que  nous 
sommes  installes,  ma  soeur  et  moi : la  maison  est  nettoyee  et  les  traces 

c xxv 


COROT 


prussiennes  ont  disparu.  Ma  soeur  est  en  assez  bonne  sante,  elle 
m’a  charge  de  vous  faire  ses  compliments  ainsi  qu’a  toute  la  famille. 
J’ai  commence  des  etudes  a Ville  d’Avray,  j’ai  retrouve  des  motifs,  mais 
ce  ne  sont  pas  les  jolis  marais  d’Arleux,  Paluel,  &c.  Je  pense  que 
vous  passez  de  jolis  moments  dans  ces  jolis  bateaux  et  jolis  bois  du 
pont  de  Paluel  et  les  jolis  bois  d’Oisy.  Je  me  suis  bien  amuse  la-bas 
et  je  pense  que  vous  en  faites  encore  tout  autant,  pour  ne  pas  en  perdre 
l’habitude  et  que  Mme.  Marie  aura  retrouve  du  calme,  du  repos  et 
alors  la  sante.  Je  fais  des  prieres  pour  que  tout  9a  se  realise, 

P£chez  aussi  de  belles  anguilles 
Sauce  Moutarde, 

Et  au  premier  repas,  je  vous  prie, 

Buvez  a la  sante  du  pauvre  petit  negre, 

Votre  nourrisson 

Pendant  la  Commune. 

J’ai  fair  d’ecrire  en  vers. 

Embrassez  bien  pour  moi  M.  et  Mme.  Alfred,  Mme.  Marie  et  Leon- 
tine.  Mes  amities  a Charles,  a M.  et  Mme.  Seiter,  a Paul  et  sa 
famille,  et  a M.  Pochez,  quand  vous  les  verrez. 

Recevez,  madame  et  amie,  l’assurance  de  mon  amitie.  C.  Corot. 
Nouveaux  remerciements  pour  tous  vos  soins. 

PS. — Les  etudes  que  j’ai  rapportees  ont  ete  goutees  et  prises 
presque  toutes.” 

This  was  not  the  first  time  Corot  had  “seemed  to  be  writing  poetry.” 
I have  now  before  me  the  reproduction  of  an  autograph,  accompanied 
by  the  following: 

Reflexions  sur 
la  Peinture 

les  deux  premieres  choses 
a etudier — c’est 
la  forme  puis  les  valeurs 

ces  deux  choses  sont 
pour  moi  les  points  d'appui 
et  serieuses  dans  l’art 

la  couleur  et  l’execution 
mettront  le  charme 
dans  1’ oeuvre.* 

* Reflections  on  painting.  The  two  principal  things  to  study  are  form 
and  then  values.  These  two  things  are  my  supports  and  are  important  in 
art.  Colour  and  execution  will  put  charm  into  one’s  work, 
c xxvi 


COROT 

The  two  canvases  which  figured  in  the  Salon  of  1872  were  a Souvenir 
de  Ville  ct  Avray  and  Pres  d'  Arras.  At  Arras  on  the  1 1 th  of  July,  1 872, 
was  celebrated  Corot’s  artistic  jubilee.  In  the  same  year  he  went  to 
Rouen,  where  he  saw  the  paintings  by  Delacroix  in  the  Palais  de 
Justice;  then  down  south,  on  the  Spanish  frontier,  “where,”  he 
remarks,  “ I saw  some  extraordinary  greens.  Only  wait  till  I can 
take  it  all  in  ; vous  men  direz  des  nouvelles  ! ” At  Rouen  he  showed 
his  travelling  companions  the  place  in  the  courtyard  of  the  lycee 
where  he  used  to  be  put  “ on  picket.”  “ At  that  time,”  said  he,  “ I 
could  hide  better  than  now,  for  there  was  no  corporation  to  be  seen.” 
On  the  black-board  in  one  of  the  rooms  he  drew  a little  flower  and 
signed  it  0C>  in  imitation  of  the  traditional  x.  This  same  year  he 
paid  other  visits,  a score  or  so  at  least,  for  he  had  friends  everywhere 
who  invited  him  to  their  homes  that  they  might  celebrate  his  jubilee. 
In  1873  he  exhibited  a Pastorale  and  Le  Passeur , and  in  1874  three 
works:  Souvenir  d' Arleux , Le  Soir  and  Clair  de  Lune.  This  year,  as  in 
the  preceding  one,  the  question  of  awarding  Corot  the  “ medaille 
d'honneur ” was  discussed;  but  it  was  given  to  M.  Gerome.  The 
old  man  was  deeply  hurt  at  this.  His  friends  and  admirers  protested, 
and  got  up  a subscription  to  present  him  with  a testimonial.  M. 
Geoffroy  Dechaume  did  a gold  medallion  nine  centimetres  in  diameter, 
and  this  was  presented  to  Corot  at  a banquet  given  in  his  honour  at 
the  Grand  Hotel  on  the  29th  of  December,  1874.  M.  Marcotte 
simply  said : “ There  is  too  much  for  one  to  say,  both  of  the  man 
and  of  the  artist.  This  medal  will  speak  for  us.”  Corot  opened  the 
case  and  read 

A COROT, 

SES  CONFRERES  ET  SES  ADMIRATEURS 

Juin  1874 

“It  makes  one  very  happy,”  he  replied,  “ to  feel  one  is  loved  like  that.” 
Behind  a mask  of  cheerfulness  the  old  man  but  ill-concealed  a 
great  weariness.  He  was  pronounced  to  be  suffering  from  cancer  of 
the  stomach.  He  did  not  take  to  his  bed  at  once,  but  prepared  his 
pictures  for  the  next  year’s  Salon,  and  went  to  pay  a last  visit  to  the 
cottage  at  Ville  d’Avray.  A few  days  before  his  death  he  told  one  of 
his  friends  how  in  a dream  he  had  seen  “ a landscape  with  a sky  all 
roses,  and  clouds  all  roses  too.  It  was  delicious,”  he  said  ; “ I can 
remember  it  quite  well.  It  will  be  an  admirable  thing  to  paint.” 
The  morning  of  the  day  he  died,  the  22nd  of  February,  1875,  he  said 
to  the  woman  servant  who  brought  him  some  nourishment,  “Le  pere 
Corot  is  lunching  up  there  to-day.”  He  died  at  half-past  eleven  at  night. 

c xxvii 


COROT 


H is  funeral  took  place  two  days  later  at  Pere-la-Chaise.  M.  de 
Chennevieres,  Director  of  Fine  Arts,  waxed  eloquent.  A priest 
thought  it  his  duty  to  declare  that  Corot  had  made  his  confession. 
M.  Jules  Dupre  said,  “ It  will  be  hard  to  replace  the  artist ; the  man 
can  never  be  replaced.” 

His  three  canvases — Les  Bucherons,  Plaisirs  duSoir  and  Biblis — appeared 
in  the  Salon  of  1875,  hung  with  black  crepe.  Castagnary  wrote: 
“There  is  nothing  new  in  the  Bucherons  or  in  the  Plaisirs  du  Soir,  but 
it  is  evident  that  despite  his  age  the  artist  preserved  his  steady  hand 
and  his  clear  keen  eye.  These  canvases  are  worthy  to  rank  among 
the  finest  of  their  predecessors  ; they  show  the  master-hand  in  all  its 
completeness.  His  fancy  was  as  fresh,  his  sensibility  as  keen,  as  ever. 
Death  might  have  had  pity  and  paused  before  cutting  short  so  sweet 
a life-work.” 

This  same  year — 1875 — an  Exhibition  comprising  228  of  his 
pictures  was  arranged  at  the  Ecole  des  Beaux-Arts,  and  collections 
were  displayed  at  the  Universal  Exhibitions  of  1878,  1889  and  1900, 
and  at  the  Musee  Galliera  in  1895. 

The  posthumous  sale  took  place  at  the  Hotel  Drouot  in  May  and 
June,  1 875,  and  produced  nearly  two  million  francs,  or  £80,000.  The 
catalogue  contained  600  numbers. 

Corot’s  life  was  entirely  devoted  to  reverie  and  to  labour.  The  man 
appears  to  us  delightfully  simple  and  honest;  he  was  candour  itself,  kind- 
ness itself.  The  artist  is  very  great.  To  reveal  him  as  he  really  is  a 
complete  exhibition  of  his  work  would  be  needed;  but  think  how  his 
pictures  are  scattered ! Nevertheless  one  hopes  this  idea  may  be 
realised  one  of  these  days;  with  all  our  means  of  transport  and  our 
facilities  for  international  communication.  Surely  England  and 
America  will  consent  to  let  Europe  see,  for  a month  or  two,  the 
masterpieces  they  have  captured  from  us!  The  realisation  of  such  a 
result  would  be  well  worth  the  cost  of  an  embassy.  Then  one  would 
be  able  to  see  those  lovely,  but  so  little  known  figures  which  are 
Corot’s  absolute  masterpieces,  revealing  as  they  do  an  altogether  par- 
ticular sense  of  the  supple  grace  of  the  human  form  and  the  serious 
beauty  of  the  face. 

Before  I close  let  me  say  I have  no  desire  to  dispute  the  undoubted 
fact  that  Corot  had  a “manner.”  I can  see  clearly  enough  that  for  a 
long  time  there  remained  within  him  something  of  the  “historical  land- 
scape,” and  that  in  many  of  his  pictures  with  small  figures,  these 
figures  are  Italian  in  bearing  and  in  style.  Observe  the  three  women 
in  the  Toilette — to  take  a single  example.  It  is  evident  that  the  artist 
was  at  the  same  time  timid  and  obstinate ; indeed,  by  systematically 
c xxviii 


COROT 


selecting  a number  of  his  works,  one  might  convict  him  ol  monotony. 
Also  it  is  evident  to  me  that  in  many  of  his  landscapes  he  has  of  set 
purpose  put  in  a foreground  of  black  trees  which  add  a mystery  to 
the  distant  dawning  light.  I recognise  too  that  he  rarely  attempted 
to  penetrate  the  infinite  colouring  of  the  shade,  and  that  on  this  point 
he  accepted — he  whose  discernment  was  so  fine — the  ordinary  views 
of  his  time. 

But  how  he  emancipated  himself  from  the  historical  landscape  in 
his  studies  from  Nature  of  figures  and  landscapes  ! How  all  criticism 
must  needs  cease  before  those  canvases  in  which  he  was  really  him- 
self ; before  those  wherein  the  poetical  inspiration  within  them 
shone  forth  with  so  soft  a splendour  ! 

I gaze  on  these  meadows,  these  woods,  these  waters,  these  skies — 
all  the  delightful  haunts  in  which  Corot  spent  his  life,  and  which  he 
offers  to  all  who,  like  himself,  desire  to  know  and  love  the  eternal 
beauty  of  things — and  as  I gaze  I can  imagine  the  emotion  which 
animated  him,  because  this  little  piece  of  painted  canvas  preserves  the 
thrill  of  that  moment  when  the  painter  was  moved  and  dazzled;  because 
leaves,  water,  grass  and  cloud  all  are  still  aquiver  from  the  touch  of 
this  artist  hand — like  the  reflection  of  the  light  which  must  have  shone 
in  his  thoughtful  eyes.  He  had  no  “manner”  in  these  moments  of 
joy  and  plenitude.  He  was  no  longer  cautious,  diligent.  He  let 
himself  go  ; yet  all  the  time  he  was  in  full  possession  of  his  technical 
skill  and  knowledge,  which  was  great,  despite  the  reservations  and 
criticisms  of  the  writers  I have  quoted.  His  knowledge  was  within 
him,  and,  so  to  speak,  in  spite  of  himself,  did  service  to  his  exuber- 
ance. Then,  I think,  he  must  have  laughed  aloud,  and  sung  all  his 
songs,  and  talked  slyly  to  himself  in  the  fields,  like  some  big  happy  child. 
You  may  give  yourself  up  to  him  when  he  feels  this  joy,  this  beati- 
tude, this  enthusiasm.  He  will  open  to  your  gaze  the  vast  fields  or 
light  in  the  world.  He  will  teach  you  how  much  concentrated 
beauty  exists  wherever  you  are.  His  exquisite  local  genius  has 
plumbed  the  depths  of  all  things  around  him. 

He  is  the  subtle,  the  delicious  painter  of  the  land  in  which  we  live. 
From  the  pools  of  Ville  d’Avray  to  the  fields  and  coppices  of  Artois 
he  roams  from  morn  till  night  amid  the  fair  and  delicate  landscapes  of 
Northern  France.  He  knows  every  path,  every  byway,  every  road. 
He  wanders  round  the  hill-sides,  through  the  forests  to  the  open  glades. 
Wherever  there  be  a spring,  lighting  up  brown  earth  and  sombre 
green  with  its  crystals,  there  he  will  stand  and  watch  the  reflection  of 
the  heavens.  He  spends  his  morning  hours  gazing  on  the  mists  as 
they  unfold  their  veils  above  the  familiar  pool  and  beyond  the  narrow 

c xxix 


COROT 

stream.  He  notes  the  delicate  pattern  of  the  hoar-frost.  He  is 
enraptured  with  the  last  rays  of  sunlight  lingering  on  the  water.  And 
then  he  flies  away  right  into  the  clouds,  like  the  lark  to  which  he 
compared  himself ; and  then  his  delight  at  their  limpidity  and  their 
depth  is  truly  extraordinary.  Nearly  all  the  skies  he  painted  have 
lightness  and  vast  extent  ; like  air  itselr  they  are  formed  of  some 
impalpable  matter. 

Look  closely  into  these  sun  harmonies  and  here  and  there  you  will 
discover  the  prescience  of  a fine  and  subtle  analysis  of  light.  Histori- 
cally, Corot’s  work,  which  belongs  to  the  painting  of  the  Past,  heralds, 
by  its  nuances  and  by  all  the  hidden  treasures  it  suggests,  the  bold 
experiments  and  happy  discoveries  of  the  Future. 

Gustave  Geffroy. 


Here  are  the  prices  obtained  by  some  of  Corot’s  works  at  public  sales: 
February,  1 8 8 1 : Jeune  Baigneuse,  5000  francs;  Lurydice , 6510 

francs  ; V Atelier,  5400  francs  ; Le  Canal  (environs  de  Rouen), 
5900  francs  ; La  Prairie  (environs  de  Saintes),  5900  francs  ; Le 
Prepart,  5610  francs  ; Lffet  du  Soir  au  Bord  de  la  Riviere , 4900  francs  ; 
Environs  de  Ville  d'Avray,  1700  francs.  November,  1881  : Baigneuses 
sous  Bois , 1 2,500  francs  ; Christine  Nilsson , represented  as  a gipsy,  at  the 
outset  of  her  career,  playing  the  mandoline  in  the  streets,  4000  francs. 
February,  1882  : Le  Matin , 6000  francs  ; Le  Sender , 57 00 

francs  ; Les  Lave  uses,  1750  francs  ; Soled  couchant,  850  francs  ; Pay- 
sage,  805  francs;  Biicherons  sous  Bois,  250  francs;  a drawing,  160 
francs  ; La  Musique,  530  francs  ; La  Lecture,  1250  francs  ; Reverie, 
2450  francs.  May,  1882:  Paysage  (first  manner),  1220  francs; 
Danse  des  Nymphes , 2350  francs  ; Le  Passeur,  7650  francs  ; Pecheur 
Napolitain,  5000  francs. 

March,  1883  : La  Mare,  2650  francs.  April,  1883  : Vue  prise 
a Ville  d'Avray,  14,100  francs  ; La  Femme  a la  Poque,  7100  francs  ; 
Le  Matin,  2800  francs;  Le  Pont,  2050  francs;  L' Atelier,  1200 
francs  ; LI  Atelier  (pendant  of  the  last-named),  4600  francs  ; La  Haie, 
4000  francs;  Portrait  de  la  Cathedrale  de  Chartres,  1200  francs;  Le 
Moulin,  1750  francs;  La  Prairie  (Saint-Cloud),  3150  francs;  Le 
Chateau  de  Chi l Ion,  1510  francs;  Le  Pont,  1620  francs;  Sous  Bois 
(1849),  1 900  francs. 

In  May  of  the  same  year  a landscape  belonging  to  Arsene  Houssaye, 
and  attributed  to  Corot,  was  put  up  for  sale  and  realised  6300  francs. 
In  December,  1883,  Deux  Femmes  et  un  Enfant  brought  9000  francs. 
It  was  at  this  time  that  the  “ Dumas-Trouillebert  incident  ” occurred. 
The  matter  was  settled  rather  more  than  a year  later  (in  January, 

C XXX 


COROT 


1885)  by  a judgment  of  the  Court  ordering  M.  Tedesco  “to  let 
Trouillebert  put  his  own  signature  on  the  picture  called  La  Fontaine 
des  Gabourets ,”  which,  bearing  the  signature  of  Corot,  had  been  sold 
to  M.  Alexandre  Dumas. 

In  March,  1884,  a picture  twice  signed  by  Corot  was  sold  for 
22,000  francs,  while  another  canvas,  which,  although  signed,  was 
disputed,  “went”  for  25  francs.  This  was  the  Liseuse.  The  same 
year  I find  the  following  prices  : Les  Saules , 7800  francs  ; the 
Nymphe  de  Champs , 8005  francs.  In  1 885,  Chloe  was  sold  for  9900 francs. 
There  was  a sale  of  pictures,  including  many  Corots,  at  New 
York  in  1886.  Here  are  some  of  the  prices,  in  dollars  : A Paysage , 
5000  ; a Soir  sur  la  Riviere , 9000  ; Paysage  et  Animaux , 4050.  The 
Corcoran  Gallery  at  Washington  secured  the  Ramasseurs  de  Bois  for 
1 5,000  dollars. 

These  New  York  prices  influenced  the  Paris  market,  and  a rise 
took  place.  At  the  end  of  March,  1886,  a Paysage  brought  13,500 
francs  ; in  May  the  Baigneuses , 9000  francs  ; a Souvenir  d'ltalie , 8000 
francs;  Le  Passeur  (perhaps  the  same  as  was  sold  in  1882),  25,100 
francs  ; Le  Pecheur , 3050  francs;  the  Pont  de  Mantes , 13,000  francs; 
Nymphes  et  Faunes  (Salon  of  1869),  65,100  francs;  the  Saules,  8300 
francs  ; Village  de  Marcoussis , 8 100  francs  ; Danse  de  Nymphes , 1 5,500 
francs  ; and  Chateau  de  Pierrefonds , 10,000  francs.  On  the  5th  of  June, 
1886,  Orphee  ramenant  Eurydice  was  knocked  down  for  25,000  francs. 
Prices  seem  to  have  declined  in  1887.  In  February  Le  Matin 
“ went”  for  1000  francs  ; in  May  the  Lisiere  du  Bois  de  Ville  d' Avray 
for  4600  francs  ; Vue  du  Pont  et  du  Chateau  de  Saint-Ange  for  9050 
francs,  and  an  Esquisse  for  1225  francs.  In  Paris  the  Coup  de  Vent 
produced  5 1 00  francs. 

In  March,  1888,  a study  called  Petit  Italien  assis  realised  350  francs  ; 
Diane  et  Nymphe  au  Bain  surprises  par  Acteon  (Rome,  1836),  20,000 
francs;  Martyre  de  Saint- Sebastien,  1 5,000  francs. 

In  May,  1888,  Vue  de  Dunkerque  produced  5100  francs  ; Chateau  de 
Fontainebleau , 6000  francs  ; La  Place  du  Village , 9550  francs  ; La 
Femme  au  Puits , 4050  francs  ; Les  Bords  de  la  Vienne , 7300  francs  ; 
Environs  de  Limoges , 2050  francs. 

The  sale  of  Corot’s  canvases  seems  to  have  had  a check  in  1889. 
but  this  was  succeeded  by  a fresh  rise  in  the  following  year.  Here, 
for  instance,  are  some  prices  obtained  in  1890: — June  : La  Femme 
du  Pecheur , 13,000  francs  ; La  Rochelle , 12,000  francs  ; Le  Cabaret , 
15,700  francs  ; Dunkerque , 6000  francs  ; Le  Pont  Saint-Ange  (Rome), 
21,000  francs;  Genes , 7100  francs;  Saintry , 12,000  francs;  Lac 
de  Geneve,  1 0,000  francs  ; Port  de  Bordeaux,  1 0,000  francs  ; the  Grand 

c xxxi 


COROT 


Canal  (Venice),  10,200  francs;  L'  Entree  du  Village , 1 6,500  francs  ; 
Marini , 20,000  francs  ; Le  Matin , 60,000  francs  ; Le  Soir,  63,000  francs. 
These  prices  may  now  be  compared  with  some  realised  at  certain 
sales  ten  years  later  : March,  1900  : Le  Faucheur , 6,100  francs;  the 
Chaumieres , 8400  francs  ; Coucher  de  Soleil  sur  FEtang , 75 00  francs  ; 
Le  Village , 15,000  francs  ; La  Rafale , 22,500  francs  ; Mont-de-Mar- 
san , 11,800  francs.  April,  1900  : Z>  Chemin  du  Village , 250  dollars 
(in  New  York)  ; Bords  de  la  Riviere , 1020  francs  ; Les  Dunes , 450 
francs  ; Les  Collines  autour  du  Lac , 900  francs  ; Paysage  cF Italie , 5250 
francs;  Vallee  apres  F Or  age,  1020  francs.  May,  1900: 
Antique , 1 1 50  francs  ; L#  Lisiere  du  Bois,  4050  francs  ; Pre  au  Bord de 
FEtang , 16,900  francs  ; /Yft’  <7?  77//*?  d'Avray , 3900  francs  ; L'Etang , 
24,100  francs.  June,  1900:  jDz  Mare,  22,300  francs;  L?  Vallon 
de  la  Foret , 1 1,500  francs  ; Matin , 32,600  francs  ; i>  60/r,  34,000 

francs;  Z>  Pecheur , 44,500  francs;  Italienne , 13,000  francs  (this 
picture  was  sold  for  20,100  francs  in  1899)  ; L'Etang  de  Ville 
d'Avray , 12,100  francs  ; Clocher , 8,100  francs  ; (7^  Muse,  14,000 

francs  : La  Liseuse,  4000  francs  ; JDz  Barriere,  8300  francs  ; Sender  le 
Long  Dubois,  4100  francs;  La  Banlieue,  1720  francs.  December,  1900: 
Le  Coup  de  Vent,  12,000  francs  ; La  Charrette,  12,000  francs. 

At  the  end  of  1900  the  Metropolitan  Museum  of  New  York  was 
bequeathed  a collection  of  pictures  by  Mr.  Dunn.  These  included 
a landscape  by  Corot,  for  which  the  testator  had  paid  1 25,000  francs. 
During  the  year  several  Corots  had  been  sold  in  London,  including  Bord 
de  Riviere,  /'700  > Le  Matin,  £33°;  and  Vue  de  la  Ville  de  Nantes,  £380. 
In  February,  1901,  Dernier  Rayon  realised  10,000  francs  ; La  Tour, 
17,200  francs  ; and  L' Arbre  Coupe  (a  drawing),  3000  francs.  Prices 
in  April,  1901  : Le  Chene,  4000  francs  ; Le  Cavalier,  17,000  francs; 
in  May  : La  Gondole,  7900  francs  ; La  Colline,  6900  francs. 

The  collection  of  M.  G.  de  Hele,  of  Brussels,  contained  several 
works  by  Corot,  which  were  put  up  to  auction  on  May  10,  1901, 
and  realised  the  following  prices  : Au  Bord  de  F Etang,  25,100  francs  ; 
Pdturage,  18,100  francs  ; Le  Pecheur,  12,100  francs  ; Le  Saule,  14,500 
francs.  Other  recent  prices  were  (Paris,  May,  1901)  : Le  Matin , 
2200  francs  ; Le  Soir,  1900  francs  ; Paysage  a Ville  d'Avray,  4200 
francs.  November,  1901  : Les  Bouleaux , 370c  francs  ; Vue  de  Naples, 
1200  francs  ; La  Cour  de  la  Ferme,  23,000  francs  ; Entree  d' Abbeville, 
17,500  francs.  December,  1901  : Les  Bergers,  43,800  francs  ; La 
Cour  de  la  Ferme,  23,000  francs  ; Entree  cF  Abbeville,  17,500  francs. 

At  the  sale  of  the  Antonin  Vallon  Studio  in  May,  1901,  a Paysage 
produced  980  francs  ; Chemin  d'Auvers,  4600  francs,  and  Figure  de 
jeune  Femme,  7400  francs, 
c xxxii 


“PEASANTS  NEAR  A POOL.” 


FROM  THE  PICTURE  BY  CAMILLE  COROT. 

(By  permission  of  Messrs.  Durand-Ruel  et  l'ils , Paris.) 


COROT 


OIL  PAINTING 
“ MUSIC  AND  ART 


(Braun,  Clement,  Paris) 


c i 


COROT 


OIL-PAINTING 
“THE  WOUNDED 


C 2 


EURYDICE 


(Collection  of  J.  J.  Hill,  Esq.,  St.'  Paid,  U.S.A.; 
Photograph  by  Durand-Ruel,  Paris  and  New  York) 


COROT 


OIL-PAINTING 
“MOTHER  AND  CHILD'- 


COROT 


“ COTTAGE  INTERIOR— LIMOUSIN 

C 5 


( Collection  of  M.  Moreau-N Slaton,  Paris ; 
Photograph  by  Durand-Ruel,  Paris  and  New  York) 


COROT 


(Collection  of  M.  Henri  Rouart,  Paris) 


JLOtfOO 


OIL-PAINTING 

“ HAGAR  IN  THE  WILDERNESS’ 


COROT 


OIL-PAINTING,  1838 
“ ITALIAN  LANDSCAPE” 

c 8 


(Durand-Ruel,  Paris  ami  New  York ) 


COROT 


OIL-PAINTING 

(' Collection  of  H.  S.  Henry,  Esq.,  Philadelphia,  U.S.A.;  “CHATEAU  THIERRY’ 

Photograph  by  Durand-Ruel,  Paris  and  New  York) 


“AT  THE  END  OF  THE  VALLEY.”  by  CAMILLE  COROT. 

(By  permission  of  M.  f.  Allard , Paris.) 


COROT 


(Durand-Rucl,  Paris  and  Xcw  York) 


“NEAR  ARRAS 

C IO 


( Collection  of  Baron  Denys  Cochin,  Paris ; 
Photograph  by  Durand- Rue7,  Paris  and  New  York) 


c II 


COROT 


OIL-PAINTING 

“THE  GREAT  OAK  AT  FONTAINEBLEAU 


C 12 


(By aim,  Clement,  Pan o) 


COROT 


(Collection  of  M.  Durand-Rusl,  Paris) 


“A  GUST  OF  WIND” 


C 13 


“EVENING  GLOW” 


( Collection  of  Alexander  Young,  Esq.) 


c 14 


COROT 


OIL-PAINTING 
“ ORPHEUS” 


c 15 


(Cottier  and  Co.,  New  York  and \ London)) 


COROT 


OIL-PAINTING 

“ FARMYARD  AT  COUBRON ” 

c 16 


{Durand-Ruel , Paris  and  New  Yoik) 


COROT 


OIL-PAINTING 

( Collection  of  Isaac  Cook,  Esq.,  St.  Louis,  U.S.A.;  I HE  CANAL  AT  SI  . QLENTIN 

Photograph  by  Durand-Ruel,  Paris  and  New  York)  c 17 


CORO! 


“THE  BRIDGE.”  FROM  F.  KROSTEW ITZ’S 
ETCHING  AFTER  THE  ORIGINAL  PICTURE 


COROT 


(Published  by  J.  Casper,  Berlin ; lent  by  C.  Klackner,  London  and  New  York) 


COROT 


OIL  PAINTING 
“THE  GOAT-HERD” 


{Collection  of  Sir  Matthew  Arthur , Bt.) 


C 20 


COROT 


OIL  PAINTING 
“PEASANTS  NEAR  A LAKE 


COROT 


•vT 

\J  ^~v 
£ ^ 
C/}  ^ 

'S 

k kO 

'§■  a 
8 T 

.Sj  s, 

c S 
~i  •§> 


OIL  PAINTING 
“ GOAT-HERD  PIPING  ” 


COROT 


r» 

V 


o 


w 


z < 

< ^ 

Oh  a 


3 X 

- H 
O = 


( Collection  of  Alexander  Young,  Esq.) 


COROT 


O 2 

2 Uh 

H O 

2 

- Ui 

2^ 

2 Q 

O - 


(■ Autotype  Company , New  Oxford  Street , London. 
Original  in  the  Louvre) 


COROT 


OIL  PAINTING 
“WOMEN  BATHING” 

c 25 


(Durand- Ruel,  Paris) 


■H 


COROT 


OIL  PAINTING 
“ POOL  AT  VI LLE-D’AVllAY 

c 26 


( Durand-Ruel , Paris  and  New  York ) 


COROT 


DECORATIVE  FAINTING 

“DON  QUIXOTE  AND  CARDENIO  ” 

c 27  ( The  French  Gallery , London ) 


L’HEURE  MATINALE.”  from  the  picture  BY  CAMILLE  COROT. 

(By  permission  of  Messrs.  William  Mare  hunt  & Co.,  London,. 


COROT 


OIL  PAINTING 

“LE  PARC-DES- LIONS  A MONT-MARLY” 

c 28 


{Braun,  Climent,  Paris) 


COROT 


OIL  SKETCH 

“OLD  COTTAGE  NEAR  SEMEUR” 

c 29 


( Durand- Ruel Raids  and  New  York) 


COROT 


‘LE  LAC  D’ALBANO  ” 


COROT 


OIL  PAINTING 

“THE  CASTLE  OF  WAGNOUV1LLE 


COROT 


O 


OIL  PAINTING 
“THE  BATHERS 


COROT 


OIL  PAINTING 
“TREES  AND  POND’ 


COROT 


W 

w 

Ph 

o H 

P r-1 

f-  ??; 
55  UJ 


(Collection  of  Alexander  Young ; Esq.) 


COROT 


OIL  PAINTING 
“PEASANT  RIDING” 


“THE  pathway  to  THE  CHURCH.” 


by  CAMILLE  COROT. 


(By  permission  of  Messrs.  William  Manhunt  C-  Co.,  London.) 


COROT 


OIL  FAINTING 
“WOMEN  BATHING 

c 36 


( Collection  of  M.  Henri  Rouart) 


COROT 


CHARCOAL  DRAWING:  “LANDSCAPE  STUDY” 

C 37 


( Collection  of  M.  Lton  J.  F.  Bonnal) 


CHARCOAL  DRAWING:  “LANDSCAPE  STUDY” 

c 38 


( Collection  of  M.  Leon  J.  F.  Bomuit) 


COROT 


CHARCOAL  DRAWING:  “SOUVENIR  D'lTALIE 

( Collection  of  Charles  Ricketts , Esq.)  C 39 


CHARCOAL  DRAWING:  “LANDSCAPE  STUDY 


( Collection  of  IV.  Pitcairn  Knowles , Esq.) 


c 40 


COROT 


ORIGINAL  ETCHING  (ABOUT  1845) 
“ SOUVENIR  DE  TOSCANE” 


COROT 


ORIGINAL  ETCHING 
“ITALIAN  LANDSCAPE” 


COROT 


“ BOAT  UNDER  THE  WILLOWS”  (about  1857) 

From  the  Original  Etching 

c ( R . Gutekunst , London ) 


“THE  POOL  AT  VILLE  D’AVRAY ” (about  1861) 


c 44 


( From  the  Original  Etching ) 


COROT 


From  the  Original  Picture 

( F.  van  Wisselingh.  London') 


OIL  PAINTING:  “LANDSCAPE  STUDY 

c 45 


( Obach  Co.,  London ) 


ORIGINAL  ETCHING:  “A  WOODED  COUNTRY 

c 46 


Ai'lt 


COROT 


ORIGINAL  ETCHING  (about  1865) 
“SOUVENIR  D’lTALIE ” 

C47 


( Cottier  Co.,  New  York  and  London ) 


CRAYON  STUDY  by  J.  F.  MILLEt,  his  own  portrait  in  1847. 


JEAN-FRANCOIS  MILLET.  BY 
ARSENE  ALEXANDRE. 


CELEBRATED  passage  in  Fromentin’s  book, 

“ Les  Maitres  d’Autrefois,”  points  directly  to 
the  art  and  work  of  Jean-Franpois  Millet.  It 
contains  such  a collection  of  true  ideas  and 
wrong  appreciations;  it  represents  so  well,  in 
lace  of  the  imposing  magnitude  of  that  work, 
the  opinion  of  a distinguished  and  a timorous 
spirit  ; and,  lastly,  it  expresses  so  perfectly  the 
difficulty  experienced,  at  the  moment  of  its 
manifestation,  by  a great  artistic  fancy,  in  making  itself  under- 
stood even  by  the  most  intelligent  men,  however  well  disposed, 
that  I feel  bound  to  transcribe  this  passage,  before  considering 
anything  else.  By  its  very  errors  it  will  the  better  serve  to  prepare 
us  for  our  study  of  the  artist.  I underline  the  more  debatable 
points.  Fromentin  is  comparing  Dutch  art  with  modern  art.  He 
says  : 

“ A highly  original  painter  of  our  day,  one  with  a somewhat 
lofty  soul,  a melancholy  spirit,  a good  heart  and  a genuinely  rural 
nature,  has  expressed  things  about  rustics  and  rustic  life,  about  the 
hardships,  the  sadness  and  the  nobility  of  their  labour,  such  as  never 
a Hollander  would  have  thought  of  discovering.  He  has  expressed 
these  things  in  rather  barbarous  language , and  in  formulas  wherein  the 
imagination  has  more  vigour  and  clearness  than  the  hand.  These  ten- 
dencies were  found  infinitely  pleasing  ; and  he  was  regarded  among 
French  painters  as  endowed  with  the  sensibility  of  a Burns,  somewhat 
lacking  his  ability  to  make  himself  understood.  Finally,  has  he,  yes  or 
no,  produced  and  left  behind  him  really  beautiful  pictures?  His  form,  his 
language — I mean  that  external  envelope  without  which  the  works 
of  the  mind  can  have  no  being — does  it  possess  those  qualities  neces- 
sary to  make  the  fine  painter , and  to  assure  him  that  his  work  will 
endure  ? Beside  Paul  Potter  and  Cuyp  he  is  a deep  thinker  ; when 
one  compares  him  with  Terborg  or  with  Metzu  he  is  an  interesting 
dreamer;  there  is  about  him  something  indescribablewhich  is  undoubt- 
edly noble  when  one  thinks  of  the  trivialities  of  Steen  or  Ostade  or 
Brouwer  ; as  a man,  he  might  make  them  blush,  one  and  all : is  he 
their  equal  as  a painter  ? ” 

In  the  first  place,  I conceive  that  Fromentin  in  this  criticism  has 
been  slightly  misled  by  this  special  idea  of  his  as  to  the  beau  peintre — 

m i 


MILLET 


an  expression  which  was  very  dear  to  him.  To  his  mind — so  far  as 
one  can  gather — the  “fine  painter”  is  he  who  unites  distinction  with 
ease,  who  has  not  the  bad  taste  to  show  emotion  in  public  ; who  avoids 
exuberance  and  violence  alike;  who  may  conceivably  be  a grand 
seigneur , but,  above  all,  must  be  a man  of  the  world. 

Now  Fromentin,  with  his  highly  cultivated  mind,  regarded  Rubens, 
Van  Dyck  and  Terborg  as  “fine  painters”;  though,  truth  to  tell, 
they  were  also  something  greater  than  that.  He  would  have  put 
Velasquez  in  the  same  rank,  and  not  without  reason,  had  he  known 
him  or  paid  more  attention  to  his  work.  But  Rembrandt,  one  can 
see,  was  not,  in  his  opinion,  a beau  peintre\  nor,  assuredly,  is  Millet. 
’Tis  certainly  a very  brilliant  and  seductive  notion,  although  some- 
what restricted  and  scarcely  designed  to  enable  one  to  comprehend 
great  genius;  but  particularly  it  has  this  drawback  of  bestowing  the 
same  title  on  artists  of  very  unequal  intellectual  and  moral  worth. 
While  Rubens  and  Van  Dyck  may,  purely  in  respect  of  externals,  be 
styled  “fine  painters,”  so  one  may  put  on  the  same  list,  longo  sed 
proximus  intervallo , this  or  that  artist  of  our  own  day  who  could  not 
be  compared  to  Millet  without  inflicting  ridicule  on  them  and  insult 
on  him. 

Starting  from  this  conviction  that  Millet  was  not  a “fine 
painter,”  Fromentin,  a critic  of  eminence,  and  at  times  even  of 
depth,  despite  the  restrictions  and  the  odd  fancies  which  retard  him 
in  his  search  of  the  truth,  naturally  came  to  speak  thus  of  the  master 
with  whom  we  are  dealing.  He  was  bound  to  consider  “rather  bar- 
barous” a language  which  we,  on  the  other  hand,  shall  discover  to  be 
extremely  well-chosen.  By  a sort  of  contradiction,  which  two  lines 
off  he  does  not  appear  to  notice,  he  was  forced  to  the  conclusion  that 
this  barbarous  language  lacked  vigour  and  clearness.  Finally  he  was 
driven  to  ask  if  Millet  had  produced  and  would  leave  behind  him  beautiful 
pictures!  I will  not  discuss  the  distinction  he  attempts  to  draw 
between  certain  Dutch  “naturists”  and  the  painter  of  Barbizon. 
Much  might  be  said  on  the  subject,  for  among  the  works  of  Cuyp 
and  Terborg  are  some  which  are  full  of  thought ; furthermore,  Fro- 
mentin greatly  undervalues  the  grand  philosophy  and  profound 
humour  of  Steen,  the  Moliere  of  painting.  But  all  this  is  apart  from 
our  real  subject ; suffice  it  to  mention  the  matter  in  order  to  show 
that  when  criticism  goes  wrong,  it  does  not  go  wrong  by  halves. 
After  this  error  on  the  part  of  a clear-seeing  mind  and  a trained 
eye,  one  can  understand  how  Millet’s  art,  despite — or  perhaps  by  very 
reason  of — its  grand  simplicity,  must  needs  be  a sealed  book  so  far  as 
the  public  generally  is  concerned.  There  is  no  cause  for  astonish- 
m ii 


MILLET 


ment  nor  for  indignation  in  the  fact  that  great  minds  fail  to  be 
understood  in  their  own  time.  Their  contemporaries  always  see  in 
them  something  involuntarily  aggressive,  something  that  shocks  ; 
in  a word,  they  are  antipathetic.  The  reason  is  of  the  simplest. 
Great  minds  throw  out  a force  beyond  themselves  ; whereas  those 
who  please  the  public  simply  absorb  its  external  tastes  and  pre- 
judices. It  must  be  left  to  Time  to  perform,  on  behalf  of  ideas,  the 
same  service  as  distance  does  for  the  silhouette.  You  cannot  under- 
stand a mountain  with  your  nose  against  it  ; and  few  possess  the 
privilege  and  the  gift  of  being  able  to  detach  themselves  sufficiently 
from  their  own  period  to  live  half-a-century  ahead.  Yet  with  regard 
to  Millet  there  were  certain  minds  of  this  type:  artists  like  Rousseau, 
critics  like  Castagnary,  understood  Millet  as  we  ourselves  under- 
stand him,  more  or  less,  to-day.  For  this  reason  a study  dealing 
with  the  author  of  the  G/aneuses  and  the  Homme  a la  houe  may  even 
now  be  something  fresh  and  timely. 

Now  that  we  have  spoken  of  Millet  as  though  we  knew  him,  let 
us  talk  of  him  as  though  he  was  unknown  to  us. 

On  the  4th  of  October,  1814,  in  the  village  of  Gruchy,  a de- 
pendence of  the  Commune  of  Greville,  in  the  neighbourhood  of 
Cherbourg,  was  born  a son  of  the  soil.  The  district,  the  surround- 
ings and  the  time  are  equally  characteristic  : as  for  the  land,  it  is  rich, 
ample  agricultural  soil,  within  sight  of  the  boundless  sea,  presenting 
on  the  one  hand  a spectacle  of  deep,  continuous  labour,  and  on  the 
other  a spectacle  of  infinite  imagination  ; and  when  an  intelligent 
being  takes  part  in  this  labour  the  result  is  a natural  harmony,  as 
penetrating  as  spontaneous,  between  the  two  elements.  Now  Millet, 
almost  to  his  twentieth  year,  took  his  share  of  the  family  toil.  He 
drove  the  plough,  was  busy  at  seed-time  and  harvest,  tended  the 
beasts,  and,  in  a word,  lived  the  grave  and  humble  peasant  life  to  the 
full.  France,  which  people  choose  to  regard  as  gay  and  frivolous,  is 
in  more  than  one  respect,  when  you  know  it  well,  both  serious  and 
meditative.  Thus  we  must  not  consider  this  hard-working  peasant 
lad,  whose  mind  was  nourished  by  deep  and  unconscious  dreamings, 
as  an  exception  among  his  race,  but  rather  as  a generalisation  of  its 
truest  and  most  intimate  qualities. 

To  these  circumstances  of  birth  are  united  those  of  his  up-bringing. 
Herein  he  was  no  doubt  to  a certain  extent  privileged,  but  his  case 
is  not  so  rare,  all  the  same,  as  some  might  imagine.  We  find  as  the 
head  of  the  family  a simple,  practical,  upright  man,  capable,  while 
bravely  facing  all  the  responsibilities  of  life,  of  developing  in  his 
children  that  which  is  perhaps  the  highest  of  all  human  faculties — • 

m iii 


MILLET 


the  faculty  of  admiration.  We  find  a grandmother  who  seems  to 
have  been  a woman  as  robust  as  she  was  tender,  as  tender  as  she  was 
vigilant.  The  mother’s  family,  while  remaining  rooted  to  the  soil, 
to  the  true  land  of  the  peasantry,  had  produced  in  the  previous 
century  a savant  and  several  priests.  Such  a case  is  frequent 
enough,  indeed  it  is  quite  general.  The  French  clergy  is  recruited 
principally  from  among  the  families  of  peasants  and  husbandmen. 
When  the  young  peasant  who  has  become  a priest  has  the  defects  of 
his  class  it  is  impossible  to  imagine  a human  being  more  narrow- 
minded, more  obstinate,  more  devoid  of  ideas.  But  when,  as 
sometimes  happens,  he  is  naturally  quick-witted  and  good-natured, 
he  displays  an  unparalleled  charm  of  simplicity  and  candour  and 
good-will.  Millet’s  maternal  uncle  was  one  of  these  obscure  and 
privileged  beings.  He  had  a deep  influence  on  the  destiny  of  the 
child,  and,  quite  involuntarily,  was  the  determining  cause  of  his 
artistic  career.  The  part  he  took  in  the  formation  of  Millet’s  mind 
may  be  explained  in  the  most  natural  manner  : he  taught  him  to 
read,  instructed  him  in  Latin,  enabled  him  to  understand  Virgil, 
read  the  Bible  with  him,  and  left  it  in  his  hands.  As  for  the 
accident  which  turned  the  child  into  a painter,  it  simply  hung 
on  the  fact  that  this  old  Bible  was  adorned  with  engravings. 

All  this  happened,  of  course,  without  pretension  or  premeditation. 
It  is  different,  indeed,  in  the  present  day,  when  people  begin  to  pose 
from  their  earliest  years,  and  when  every  middle-class  household, 
and  soon  every  peasant  family,  will  have  produced  at  least  one  artist, 
or  painter,  or  musician,  or  writer  or  actor.  The  honest  folk  whose 
acquaintance  we  have  just  made  lived  for  themselves,  without  after- 
thought of  any  kind.  Millet’s  uncle  taught  him  Latin,  and  im- 
proved his  mind,  but  with  no  idea  beyond  making  a husbandman  of 
him.  He  showed  him  how  to  think,  just  as  his  mother  and  his 
grandmother  showed  him  how  to  walk  : because  it  was  useful  and 
natural — that  was  all  ! But  even  a trifle  like  this  is  of  capital  im- 
portance— moreover,  you  may  meet  on  the  sea-shore  a child  of 
peasant  parentage,  with  an  uncle  who  is  a cure , and  teaches  him  to 
read  an  illustrated  Bible  ; but  this  child  will  not  necessarily  become 
a Jean-Fran^is  Millet.  Nevertheless,  when  retrospectively  one 
comes  to  know  the  artist’s  origins,  they  throw  a much-needed  light 
on  his  personality  and  on  his  work. 

And,  again,  the  period  was  equally  well  suited  to  the  formation  of 
the  artist.  The  close  of  the  preceding  century,  with  Jean-Jacques 
Rousseau  and  the  early  days  of  the  new  century,  with  links  still 
attaching  it  to  certain  traditions,  which  impelled  towards  intellectual 
m iv 


'HE  NUNS.  From  the  early  pastel  by  J.  F.  MILLET. 

Alex.  Mac  Bride , Esq . , Executor  0/  the  late  Hugh  Pollock , Esq.,  Glasgow). 


MILLET 


emancipation,  had  paved  the  way  to  the  expansion  ot  certain  general 
ideas  ; so  that  when,  later,  an  artist  like  Millet  strove  to  give  them 
expression  he  was  not  regarded  as  an  incomprehensible  monstrosity. 
I do  no  more  than  make  bare  allusion  to  these  points,  the  develop- 
ment of  which  would  bring  one  too  close  to  pure  philosophy,  but 
they  certainly  had  as  much  influence  in  Millet’s  development  as  had 
the  air  he  breathed  and  the  family  training  he  received. 

I have  insisted  at  some  length  on  this  question  of  origins  ; but  in 
reality  it  constitutes,  in  conjunction  with  the  chronology  of  his  works, 
the  whole  biography  of  Millet.  His  story  is  above  all  one  of  a 
mind  which  may  be  seen  to  grow  very,  very  slowly,  to  develop 
with  much  effort,  to  arrive  at  maturity  after  long  patience,  and  to 
maintain  and  assert  itself  by  dint  of  assiduous  reflection.  This  spec- 
tacle, which  brings  us  right  to  the  heart  of  our  subject,  is  indeed 
analogous  to  that  offered  by  the  cultivation  of  the  land,  that  labour  in 
which  Millet  took  part;  the  plough  regularly  opening  and  softening 
the  soil,  and  the  crops  springing  up  in  due  season  after  the  long,  con- 
tinuous and  mechanical  mystery  of  the  seed’s  travailing.  Millet’s 
life  and  career  constitute  an  operation  at  once  natural  and  well- 
ordered.  He  who  later  was  to  be  the  painter  of  the  peasant  was 
truly  a peasant’s  son.  Think  how  fine  a thing  it  would  be  if  only 
every  artist,  every  historian,  could  thus  develop  normally  in  his  own 
surroundings,  instead  of  discovering  a compass  when  there  is  scarce 
time  to  travel  more  ! 

What  if  the  painter’s  early  years  were  marked  by  many  of  the 
hesitations,  the  gropings,  so  to  speak,  which  ever  accompany  the 
surest  preparations  and  the  most  prosperous  voyages  ? The  young 
peasant’s  vocation  was  settled  for  him  by  the  biblical  pictures  he 
began  spontaneously  to  copy.  What  helped  him  was  that  his  family 
raised  no  objection  to  this  manifestation  of  his  natural  gifts.  What 
spurred  him  on  somewhat  was  that  he  found  himself  compelled, 
lacking  the  elements,  to  feel  his  way  very  cautiously  at  the  start,  v $ 
At  Cherbourg,  where,  after  his  simple  imitations  of  engravings,  he 
began  to  copy  the  pictures  in  the  art  gallery,  Millet  found  in 
Langlois  de  Chevreville,  a pupil  of  Baron  Gros,  more  of  a protector 
and  a friend  than  a real  teacher.  No  one  taught  him  technique. 
Like  honest  Chardin  of  old,  he  was  forced  to  “ put  on  the  paint  till 
it  looked  like  the  model.” 

But,  when  one  reflects  upon  it,  was  this  really  an  impediment, 
particularly  in  the  case  of  a meditative,  determined  and  subjective 
nature  like  that  of  Millet  ? No  ; because  in  order  to  attain  com- 
plete, strong  and  harmonious  expression,  it  was  both  natural  and 

m v 


MILLET 


necessary  that  he  should  master  bit  by  bit,  and  by  his  own  effort 
alone,  his  language  simultaneously  with  his  imagination. 

The  second  stage  of  this  laborious  formation  was  reached  in  Paris. 
M.  Langlois  obtained  for  his  protege  a small  grant  from  the 
municipality  of  Cherbourg,  which  was  supplemented  by  a further 
subsidy  from  the  department  of  La  Manche.  To  this  modest  stipend 
the  mother  and  the  grandmother  added  their  slender  savings.  The 
young  man,  still  somewhat  of  a peasant,  and  not  yet  quite  the  artist, 
arrived  in  Paris  towards  the  end  of  1836,  with  600  francs  in  his 

Let  it  be  noted,  as  a highly  characteristic  trait , that  he  was  far  from 
being  enthusiastic  of  Paris.  In  his  ears  there  ever  rang  so  strongly 
the  august  symphony  of  the  sea,  in  his  eyes  was  so  vivid  a remem- 
brance of  the  vast  harmony  of  lines,  the  grandiose  fulness  of  earth  and 
sky,  that  our  horizons  must  needs  seem  cramped  and  insignificant, 
our  clamour  very  weak.  He  said  as  much  in  precise  words:  Paris 
seemed  to  him  “doleful  and  dull.” 

Never  was  he  to  be  altogether  captivated  by  the  city,  and  at  once 
he  began  to  maintain  his  freedom  by  frequent  and  regular  communica- 
tion with  his  native  soil  ; also  he  decided  to  establish  his  quarters  in 
some  spot  which,  while  not  being  too  far  from  this  Paris — the 
inevitable  centre  of  all  intellectual  effort — should  seem  to  him  the 
most  countrified  and  the  most  frankly  rural.  Thus  at  no  period  of  his 
life  could  he  be  called  a deracine , as  we  term  it  nowadays  ; for,  so  to 
speak,  he  carried  away  and  preserved  with  him  the  soil  wherein  his 
deepest  roots  had  sprung  and  spread. 

So  far  as  his  artistic  technique  is  concerned  it  suffices  to  record  that 
he  studied  at  Paul  Delaroche’s  atelier , and  that,  nevertheless,  on  his 
visits  to  the  Louvre  he  was  especially  attracted  and  impressed  by  the 
Spanish  masters.  This  opposition  is  singularly  expressive.  Certain 
it  is  that  the  bald,  cold,  historical  painter  could  have  had  neither  any 
sympathy  with  his  uncivilised  pupil,  nor  any  power  to  inspire  him  ; 
whereas  Ribera,  Zubaran  and  Velasquez  must  necessarily  have  been 
Millet’s  real  masters — those  one  chooses,  and  not  those  that  circum- 
stances provide.  Millet,  therefore,  like  so  many  great  and  really 
original  artists,  was  of  a markedly  autodidactic  type.  His  lessons  of 
thought  he  took  in  the  country,  his  technical  studies  in  the  galleries 
of  the  Louvre.  At  the  same  time  it  must  be  understood  that  these 
two  educations  became  amalgamated,  and  that  while  his  long  contem- 
plation of  Nature  taught  him  how  to  paint,  his  association  with  the 
masters  opened  up,  enlarged  and  smoothed  the  field  of  his  fancy. 
Thanks  to  these  solitary  studies  his  esthetics  became  very  exalted 
m vi 


MILLET 


and  very  conscious.  He  was  not  to  be  one  of  those  artists  who  pro- 
duce work  of  a sort  without  taking  account  of  what  they  do,  and  are 
ignorant  not  only  of  the  past  but  of  themselves  as  well.  While  on  this 
point  I will  anticipate  in  my  chronology,  and  give  a hitherto  un- 
published instance  well  worth  noting  here. 

Our  great  painter  Fantin-Latour  has  told  me  that  in  his  youth  he 
had  the  good  fortune  to  go  through  the  Louvre  on  several  occasions 
with  Millet,  when  the  latter  was  already  well  on  in  years,  and  that 
the  old  painter  moved  him  profoundly  by  the  simplicity  and  at  the  same 
time  the  loftiness  of  his  views  on  ancient  art.  For  example,  to  the 
young  artist  who  confessed  he  did  not  like  Raphael’s  Archangel 
Michael , he  explained  the  work  in  a few  words,  and  with  a gesture 
and  a glance  that  said  more  than  many  speeches.  “But  look,”  said 
he  “at  that  crushing  fall,  at  that  terrible  landscape!”  At  that 
moment  Millet  must  have  had  the  “august  gesture  of  the  sower.”  I 
note  too,  as  secondary,  but  very  significant  details,  the  taste  Millet 
had  for  certain  painters,  whose  most  important  works  he  would  buy 
and  keep  before  his  eyes : the  harshest  and  most  eloquent  of  all  the 
Spaniards,  Greco*,  and  Hemessen,  who  in  Flemish  art  brought 
dramatic  expression  and  strength  of  modelling  to  a quite  special 
degree  of  power.  It  seems  to  me  that  for  those  to  whom  a hint  is 
sufficient  to  enable  them  to  grasp  these  questions  of  artistic  psychology 
these  indications  of  Millet’s  tastes  are  full  of  importance,  and  are  of 
much  greater  value  than  the  extended  biographical  analyses  long  since 
published  and  obtainable  everywhere. 

But  to  resume  our  biography  where  we  left  it.  In  1841,  after 
having  exhibited  at  the  Salon  of  the  previous  year  a Portrait  of  a 
Man  which  attracted  no  attention,  Millet  was  compelled  to  return 
to  Cherbourg,  and  one  may  guess  it  was  not  because  he  had  made 
a fortune  ; indeed,  at  that  time  he  was  living  and  painting  as  best 
he  could.  It  is  curious  to  remark  that,  while  never  being  an  exact 
repetition,  the  life  of  all  great  artists  has  always  certain  points  in 
common.  Think  of  the  young  Watteau,  forced  to  turn  out  his 
Saint-Francis  by  the  dozen  ; of  the  young  Francis  Millet  accepting 
the  meagre  portrait-work  offered  him,  and  not  refusing  even  to  daub 
a signboard.  At  least  one  can  see  that  in  this  work,  which  may  be 
judged  by  the  portraits  of  that  period  which  have  been  preserved, 
Millet  always  strove  after  robust,  solid  execution — never  afraid  of 
over-assertion  or  of  giving  plenty  of  body  to  his  subject.  But  it 
is  sad  rather  than  surprising  to  find  Millet,  on  his  return  to  Paris 

# The  admirable  Greco  owned  by  Millet  is  now  in  the  collection  of 
M.  Degas.  It  is,  as  one  sees,  a work  which  has  had  an  uncommon  career. 

M vii 


MILLET 


soon  afterwards,  striving  to  please ! He  wanted  to  do  what  should 
be  acceptable.  That  rough  hand,  which  had  driven  the  plough  with 
so  much  vigour,  now  clumsily  tried  to  twirl  the  dandy’s  cane  ! 

He  did  an  Offrande  a Pan , and  was  represented  at  the  Salon  of 
1844  by  a Lepon  d' Equitation  and  a Laitiere , which  the  celebrated  and 
clear-sighted  Thore  described  as  “ a pretty  sketch  in  the  Boucher 
manner!”  This  was  certainly  the  most  painful  period  in  his  life. 

In  1846  the  Salon  jury  rejected  his  Saint-Jerome , represented  as  being 
tempted  by  all  sorts  of  alluring  feminine  apparitions.  And  this  was 
neither  the  first  nor  the  last  time  that  the  same  thing  occurred.  A 
good  deal  has  been  said  about  the  injustice  of  it  all.  Certainly  Millet 
was  rejected  by  the  Salon  juries.  But  that  is  no  longer  of  any  im- 
portance, and  we  have  neither  time  nor  space  now  to  wax  indignant 
thereat.  This  Saint-J erome  was  in  a sort  of  way  symbolical  : it  was 
the  artist’s  last  effort  to  be  “ pleasing.”  On  the  same  canvas, 
heroically  scraped,  the  painter  next  produced  a strong  and  harsh 
picture,  styled  CEdipe  detache  de  /’ Arbre,  which  appeared  in  the  Salon 
of  1847.  He,  too,  had  overcome  temptation,  and  was  now  on  the 
eve  of  becoming  master  of  himself,  fully  and  finally. 

Thus  the  Vanneur  was  the  work  of  the  true  Millet,  painter,  poet 
and  philosopher,  who  was  to  tell  and  sing  the  life  of  the  man  of  the 
fields,  and  paint — to  use  his  own  expression — as  the  “ cry  of  the 
earth  ” should  inspire  him. 

The  conception  was  at  once  novel  and  powerful.  It  may  almost  be 
said,  seeing  the  rarity,  the  exceptional  character,  of  any  precedent, 
that  the  peasant,  his  labours,  his  stunted,  shapeless  existence,  had 
never  before  been  regarded  as  capable  of  furnishing  an  exclusive 
element  of  art  ; no  one  had  realised  that  from  out  a gross  clod  of 
earth  a statue  full  of  grandeur  might  arise.  The  famous  passage  in 
La  Bruyere  is  cited  as  an  exception  to  the  literary  and  artistic  con- 
sciousness of  humanity  hitherto  prevailing  : “ One  sees  certain  wild 
animals,  males  and  females,  scattered  over  the  country,  black,  livid 
and  scorched  by  the  sun,  bound  to  the  soil  they  dig  and  turn  with 
invincible  obstinacy ; they  have  something  like  articulate  speech,  and 
when  they  rise  to  their  feet  they  reveal  a human  face,  and,  in  fact, 
they  are  men.  . . .”  And  yet  La  Bruyere,  despite  the  strange 

and  startling  sonority  of  this  cry,  uttered,  as  though  by  chance,  from 
his  heart,  was  the  first  to  be  incredulous  and  reluctant  to  admit  the 
idea  that  those  lines  of  his  might  be  the  germ  of  hundreds  of  books, 
hundreds  of  pictures.  As  for  the  painters,  they,  although  it  is  their 
function  to  see  and  describe  everything,  had  simply  regarded  the 
fields  as  a setting  for  their  pictures  and  the  peasants  therein  as  super- 
M viii 


“THE  SOWER.”  FROM  THE  LITHOGRAPH  BY  J.  F.  MILLET. 

(Lent  by  Mr.  Frederick  Kefipel.) 


MILLET 


numeraries.  In  the  paintings  of  Benozzo  Gozzoli  in  the  Campo 
Santo  at  Pisa,  this  labour  of  the  fields  and  that  of  the  vineyards — in 
a way  the  most  aristocratic  form  of  agriculture — is  reproduced  with 
perfect  exactness,  in  a spirit  of  pagan  nobility  which  is  precisely  the 
opposite  of  the  doctrine  inaugurated  by  Millet  ; the  object  in  the  one 
case  being  to  embellish,  and  in  the  other  to  extract  beauty  from  the 
very  absence  of  all  embellishment.  The  Middle  Ages  have  bequeathed 
to  us  in  France,  in  the  form  of  illuminations  of  manuscripts  and 
cathedral  sculpture,  certain  simple  and  sincere  pictures  of  the  move- 
ments and  the  attitudes  of  the  peasant  at  work.  But  the  very 
candour  and  absence  of  intention  in  these  productions  of  such  precious 
naturalness  distinguishes  them  from  the  works  of  Millet,  who  never 
painted  save  with  a definite  object  in  view.  Again,  in  the  Avenue  de 
Middelharnis,  that  masterpiece  of  Hobbema’s  in  the  National  Gallery, 
and  in  that  other  most  moving  masterpiece,  so  far  removed  from 
its  own  period,  the  Repas  de  Pay  sans,  by  Le  Nain,  in  the  Louvre, 
we  have  the  only  really  purely  rustic  works  of  art — rustic  to  the 
exclusion  of  all  idea  of  arrangement,  that  existed  before  those  ol 
Millet,  and  that  present,  almost  involuntarily,  that  character  of 
absolute  simplicity  and  ample  generalisation  which  the  later  painter, 
of  set  purpose , introduced  into  his  canvases. 

There  is  the  real  key  to  that  work,  there  the  whole  explanation 
of  its  import.  Millet  has  given  a very  good  account  of  it  himself. 
He  has  explained  the  matter  in  striking  terms,  and  one  of  his  phrases 
sums  up  all  his  efforts  and  all  his  genius  : he  has  tried,  he  says,  to 
depict  “ the  fundamental  side  of  men  and  things.” 

Elsewhere,  on  the  subject  of  the  Homme  a la  houe  and  the 
criticisms  it  evoked,  he  affirms  his  strong  conviction  even  more 
precisely.  “ There  are  those  who  say  I deny  the  country  its 
charms.  ...  I can  see  clearly  enough  the  aureole  of  the  marigold, 
and  the  sun  away  down  yonder,  very,  very  far  over  the  land,  spreading 
its  glory  amid  the  clouds  ; but  just  as  clearly  I see  on  the  plain 
below  the  steaming  horses  at  work,  and  on  that  rocky  spot  a weary* 
man,  whose  panting  one  has  heard  since  morning,  and  who  now 
tries  to  stand  erect  a moment  and  breathe.  The  drama  is  enveloped 
in  splendour.” 

Again,  what  could  be  more  precise  than  this  ? “ I have  been 

reproached  for  not  observing  the  detail ; I see  it,  but  I prefer  to  con- 
struct the  synthesis , which  as  an  artistic  effort  is  higher  and  more 
robust.  You  reproach  me  with  insensibility  to  charm  ; why,  I open 

* The  word  used  by  Millet  is  “ errenef  a peasant’s  word  for  ereinte — 
utterly  tired  out. 


M ix 


MILLET 


your  eyes  to  that  which  you  do  not  perceive,  but  which  is  none  the 
less  real  : the  dramatic.” 

I will  take  another  of  Millet’s  letters.  No  doubt  it  is  well  known, 
but  it  cannot  be  quoted  too  often,  cannot  be  graven  too  deep  on  the 
very  core  of  any  study  devoted  to  him.  It  reveals  his  whole  soul, 
his  whole  mind.  “ In  the  Femme  qui  vient  puiser  de  FFau  I have 
endeavoured  that  she  shall  be  neither  a water-carrier,  nor  even  a 
servant,  but  the  woman  who  comes  to  draw  water  for  the  house,  the 
water  for  her  husband’s  and  her  children’s  soup  ; that  she  shall  seem 
to  be  carrying  neither  more  nor  less  than  the  weight  of  the  full 
buckets  ; that  beneath  the  sort  of  grimace  which  is  natural  on 
account  of  the  strain  on  her  arms,  and  the  blinking  of  her  eyes 
caused  by  the  light,  one  may  see  a look  of  rustic  kindliness  on  her 
face.  I have  always  shunned,  with  a kind  of  horror,  everything 
approaching  the  sentimental  ; I have  desired,  on  the  other  hand, 
that  this  woman  should  perform  simply  and  good-naturedly,  without 
regarding  it  as  irksome,  an  act  which,  like  her  other  household  duties, 
is  one  she  is  accustomed  to  perform  every  day  of  her  life.  Also  I 
wanted  to  make  people  imagine  the  freshness  of  the  well,  and  that 
its  antiquated  appearance  should  make  it  clear  that  many,  before 
her,  had  come  to  draw  water  from  it.”  I have  been  led  to  quote 
this  last  most  charming  phrase,  although  it  interrupts  our  analysis, 
because  we  see  in  it  the  true  painter’s  touch.  It  is  as  though  we 
really  had  before  our  eyes  Millet’s  wonderful  green , that  subtle 
mixture  of  colours  and  oils  whereby  he  expressed  the  rich,  smooth 
aspect,  the  warm-coloured  age,  of  those  accessories  of  rural  life, 
which  have  been  in  use  from  generation  to  generation.  . . . 

For  the  rest,  it  is  not  necessary  to  dwell  longer  on  this  essential 
side  of  Millet’s  work  ; everything  we  have  seen  in  the  course  of  our 
examination  will  have  prepared  us  to  understand  him  : his  studious, 
pensive  childhood,  his  laborious,  introspective  youth  ; his  manhood, 
solitary  and  nurtured  by  toil  and  meditation.  In  solitude  it  is  that 
general  ideas  best  come  to  life.  There  is  one  word  to  add  to  this 
moral  portrait  which  I have  attempted  to  sketch.  It  is  not  rare, 
especially  in  our  own  time,  for  an  artist  to  devise  a complete  system 
to  which  he  applies  and  subordinates,  and  by  which  he  controls, 
everything  he  produces.  But  more  often  than  not  this  system 
enchains  the  artist  or  ruins  his  work.  Millet  offers  us  the  magnifi- 
cent spectacle — wherein  all  his  grandeur  lies — of  a man,  a system, 
and  a work  all  on  the  same  level. 

That  solitude  which,  dangerous  as  it  is  for  others,  proved  so  fertile 
in  Millet’s  case,  was  deliberately  sought  by  him  and  maintained  to 
m x 


MILLET 


the  end  of  his  life.  In  1 849  he  settled  down  at  Barbizon,  and  practically 
never  left  it  except  to  go  to  Cherbourg  and  to  Paris  on  business. 
Thus  his  life  became  one  of  sublime  monotony.  His  entire  story, 
devoid  of  spicy  anecdotes,  adventures,  or  dramatic  situations,  is  con- 
tained, as  I have  already  said,  in  the  chronology  of  his  works.  It 
differs  in  no  way,  indeed,  from  that  of  his  humble  models — object 
and  result  apart.  Like  his  peasant  neighbours  he  dug  and  toiled 
and  sowed  day  by  day  ; like  them,  in  the  patriarchal  manner,  he 
brought  up  a numerous  family  ; like  them  he  reaped  his  bread  by 
the  sweat  of  his  brow  ; farmer  of  the  mind,  he  loyally  paid  his  lord 
and  master,  the  public,  a splendid  rent,  in  the  shape  of  works  enriching 
the  heart  of  humanity  ; while  the  wages  he  was  able  to  earn  for 
himself  materially  did  no  more  than  suffice  to  let  him  and  his  live 
in  honourable  humbleness. 

More  than  once  Millet  knew  the  meaning  of  want.  ’Tis  a story 
old  as  Art  itself,  and  although  it  may  seem  foolish  to  wax  indignant 
about  it  now,  one  may  well  feel  sad  at  the  thought.  So  strong  is 
the  contrast  between  these  struggles  and  the  imposing  auction  sales 
— to  two  of  the  most  celebrated  of  which  I am  going  to  refer — that 
although  cool  and  practical  people  may  find  nothing  abnormal  in 
such  a state  of  things,  they  must  at  least  admit  that  it  is  monstrous. 
In  1851,  continuing  the  series  of  his  great  agrarian  poems — his 
“ Georgies  in  paint,”  as  Theophile  Gautier  so  happily  described 
them — Millet  exhibited  his  Semeur ; in  1853  displayed,  or  at  least 
finished,  the  : Tondeuse  de  Moutons , the  Berger , and  the  Moissonneuses. 
Considerations  of  space  forbid  me  to  analyse  these  lovely  works, 
whose  common  character  I attempted  just  now  to  point  out.  The 
year  1855  saw  the  production  of  that  notable  work,  the  Paysan 
grejfant  un  Arbre.  If  the  little  old  fellow  on  the  roadside,  so  admirably 
caught  and  realised  by  Hobbema  in  his  Middel harms , brings  many 
real  and  human  things  to  the  mind,  how  profound  are  the  medita- 
tions on  humanity  evoked  by  this  peasant  in  the  foreground,  and,  in 
presence  of  his  wife  and  child,  seeming,  as  Gautier  said,  to  be  per- 
forming “ a rite  in  some  mystic  ceremony,  as  though  he  were  the 
high  priest  of  a rural  divinity  ! ” 

Well,  this  work  was  admired  by  certain  advanced  minds,  and 
caused  an  intense  sensation  among  the  really  great  artists  of  the  day, 
but  it  did  not  bring  Millet  even  the  most  modest  sum.  Some  day 
the  fine  action  I am  about  to  relate  will  become  classical,  as  are  the 
noble  deeds  one  recites  to  children  to  train  their  minds  towards  lofty 
sentiment.  It  was  an  artist  who  bought  the  picture  ; and  how 
delicately  it  was  done  ! Theodore  Rousseau  it  was  who  sent  a 

m xi 


MILLET 


messenger  to  Millet  with  four  thousand  francs,  offered  for  the 
Greffeur  by  an  imaginary  American  ; and  thus  Millet  was  saved  in 
the  hour  of  trouble.  This  picture,  for  which  the  author  would 
never  have  got  four,  nor  even  two,  wretched  thousand-franc  notes, 
had  he  not  chanced  upon  a great-hearted  comrade,  was  sold  at  the 
Hartmann  Sale  in  1 8 8 1 for  133,000  francs. 

There  is  something  simple  and  heroic  in  the  friendship  between 
Rousseau  and  Millet.  It  is  the  more  remarkable  inasmuch  as  there 
were  great  contrasts  between  the  two  men,  aad  they  never  absolutely 
confided  in  one  another,  after  having  become  intimate  very  slowly. 
On  the  one  side  unrest,  on  the  other  the  reflective  mind  ; with 
Rousseau,  perpetual  quest,  amounting  almost  to  a disease  ; with 
Millet,  strength  confident  of  itself,  decision  once  arrived  at  ; on  the 
one  hand  an  analytical  mind  of  the  finest  ; on  the  other,  one  of  the 
most  splendidly  synthetical.  How  well  it  fits  in  the  life  of  Millet, 
this  superb,  virile  harmony,  and  how  greatly  preferable  to  mere 
amusing  anecdote  or  romantic  adventure. 

With  regret  I must  pass  by  works  like  those  produced  in  1857, 
which  of  themselves  might  well  afford  a subject  for  long  and  profit- 
able consideration.  Let  me  simply  make  the  two  following  essential 
points,  for  the  benefit  of  such  as  may  desire  to  go  deeply  into  the 
matter.  In  the  Glaneuses  there  is  quite  a study  to  be  made  of  the 
rhythm  of  line  in  Millet’s  work.  In  this  picture  everything  is  of  set 
purpose,  and  everything  in  it  is  natural  ; it  is  intense  in  its  poetry, 
but  with  a hidden  framework  rigorously  geometrical,  absolutely 
exact  in  its  mechanism.  If  it  were  not  so  cunningly  constructed 
it  would  be  less  poetical  ; were  it  less  poetical  it  would  not  be  so 
rigorously  true,  so  perfectly  live. 

In  the  Parc  aux  Moutons  and  in  the  Berger  ramenant  son  Proupeau 
la  Nuit  I may  observe  that  the  painter  has  essayed  one  of  the 
most  difficult  problems  in  painting — difficult  to  such  an  extent  that 
the  Impressionist  School,  all  its  other  merits  notwithstanding,  has 
completely  avoided  it.  Yet  surely  the  impressions  we  feel  per  arnica 
si/entia  lunce  are  among  the  most  moving,  the  most  troublantes  of  all. 
But  that  stirring  of  the  senses,  we  feel  when  a poet  describes  the  night, 
cannot,  it  would  seem,  be  expressed  nor  called  forth  by  painting. 

The  Angelas  (1859)  is  the  other  great  example  of  the  immoral 
destiny  of  works  of  art.  The  expression  is  somewhat  strong  perhaps, 
but  I let  it  stand.  Consider  that,  when  first  produced,  this  picture — 
the  most  famous  of  them  all — did  not  even  find  a buyer  ; at  least,  in 
the  course  of  its  much-travelled  career  it  was  almost  as  often  ex- 
changed as  sold.  An  American  was  to  have  bought  it  for  the 
m xii 


MILLET 


agreed  sum  of  1500  francs,  but  backed  out  of  his  bargain.  So  Millet 
parted  with  it  for  1000  francs.  It  passed  from  hand  to  hand.  In 
1864  it  was  taken  in  exchange.  Then  its  price  began  to  rise  : 
1800  francs,  then  12,000,  then  38,000,  then  160,000,  then  553,000, 
and  finally  800,000.  Draw  what  conclusions  you  will  from  these 
figures  ; the  choice  is  so  large  as  to  be  embarrassing. 

By  way  of  ending  my  chronology  of  the  principal  works  I will 
simply  mention  that  to  the  Angelas  period — the  date  of  Millet’s  fullest 
maturity — belong  also  the  Becquee , the  Tondeuse  de  Moutons , and  the 
Tueurs  de  Cochons.  This  last-named  work,  so  dramatic  in  its  veracity, 
is  the  only  one  in  which  the  artist  showed  a trace  of  satire  or  human 
bitterness  ; for  it  is  clear  that  he  has  made  the  butchers’  faces  bear  a 
resemblance  to  that  of  their  victim.  The  Homme  a la  Houe , men- 
tioned above,  dates  from  1863.  In  1865  Millet,  more  by  accident 
than  by  choice,  had  a singular  return  to  the  subjects  of  his  youth. 
He  was  commissioned  to  decorate  a dining-room,  and  executed  three 
panels  and  a ceiling,  representing  the  Seasons,  in  the  form  of  mytho- 
logical scenes.  Dap/mis  and  Chloe , Ceres , Ld Amour  mouille  and  a 
Bacchanale.  This  latter,  which  formed  the  ceiling,  is  now  in  the 
possession  of  the  King  of  the  Belgians.  Also  to  be  mentioned  as  form- 
ing part  of  this  somewhat  exceptional  work  is  the  Agar , which 
figures  in  the  superb  collection  of  the  painters  of  1830  got  together 
by  the  Dutch  marine  painter  M.  Mesdag.  And  whereas  the  Agar  is 
powerful  and  dark  in  colour,  Millet  has  tried  to  make  the  other 
panels  as  bright  and  genial  in  tone  as  possible.  But  some  command- 
ing natures  there  are  to  whom  the  gift  of  pleasing  has  been  denied. 
At  the  same  time,  although  the  reproaches  addressed  to  Millet 
respecting  a certain  heaviness  of  colour  may  be  justified  over  this 
dining-room  decoration,  in  which  the  gloom  is  intensified  by  the 
floral  tints  lavished  around  it,  I refuse  to  agree  with  any  such  criti- 
cism in  so  far  as  the  other  works  are  concerned — works  in  which  the 
colouring  is  perfectly  adequate  to  the  design  and  to  the  execution. 
If  there  is  a little  tenderness  in  his  colour  at  times  it  is  always 
masculine  and  robust  ; Millet  took  no  heed  of  atmospheric  analyses, 
but  his  strong  synthetical  faculties  assert  themselves  both  in  his 
broad  colourations  and  in  his  sculptural  design. 

In  this  connection  it  must  be  mentioned,  however  briefly,  that 
pastels  and  drawings  in  black  or  in  colours  form  a considerable  part 
of  Millet’s  achievement.  A whole  article  would  not  be  too  much  to 
devote  to  the  drawings  alone,  and  were  the  opportunity  ever  to  arise 
I should  be  glad  to  undertake  the  task.  One  would  then  be  able  to 
analyse  still  more  thoroughly  Millet’s  whole  philosophy,  so  humane, 

m xiii 


MILLET 


so  nobly  sympathetic.  One  would  then  see  that  not  one  of  the 
little  incidents  in  the  intimate  life  of  the  instinctive  being  failed  to 
reveal  to  him  its  significance  and  its  beauty  ; that  labour  of  all  kinds, 
in  field  and  forest  and  farm,  was  regarded  by  him,  in  its  general  im- 
port, as  forming  part  of  the  great  and  durable  rites  of  the  soil. 
Meanwhile  let  me  at  least  mention  among  the  pastels  the  Veillee 
the  Baratteuse , and  that  terrible  one  called  Hiver , a poem  the 
constituents  of  which  are  a ploughed  field  under  a heavy  sky,  with  a 
harrow  lying  neglected  in  the  foreground.  Really  nothing  could  be 
grander  and  more  dramatic  ; and,  as  is  the  case  with  most  of  the  very 
great  things  in  art — every  one  has  seen  such  a thing — one  man  alone 
could  have  given  it  expression. 

As  for  the  drawings,  the  importance  Millet  attached  to  them  may  be 
judged  by  the  fact  that  to  a series  of  the  best-known  among  them  he 
gave  the  somewhat  imposing  and  systematic  title,  LI Epopee  des  Champs. 
At  that  period  of  his  life  Millet  certainly  had  a right  to  use  such  a 
title,  for  he  was  indeed  an  epic  poet,  one  of  the  few  living  in  our 
time.  One  stands  bewildered  when  one  re-reads  the  criticisms  of 
the  day — true,  there  is  no  need  to  re-read  them — in  which  they  talk 
of  the  bestiality  of  Millet’s  figures,  of  his  gross  naturalism,  and  so 
forth.  On  the  other  hand,  by  way  of  consolation,  we  find  certain 
minds  more  enthusiastic,  and  it  were  worth  many  pages  to  have 
written  the  fine  phrase  that  Castagnary  wrote : “ Do  you  remember 
his  Reaper  ? He  might  have  reaped  the  whole  earth  ! ” 

From  1870  onwards  Millet  ceased  to  exhibit.  During  the  “Annee 
Terrible”  he  stayed  in  Cherbourg,  where  he  painted  some  fine  and 
tragic  sea-pieces.  He  returned  to  Barbizon  in  1871,  and  from  1872 
till  his  death  in  1875  his  powers  and  his  capacity  for  work  declined. 
To  quote  the  critic  I have  just  mentioned,  who  in  a few  words 
traced  Millet’s  complete  silhouette:  “Thus  passed  this  man,  nurtured 
by  the  Bible,  severe  as  a patriarch,  as  kind  as  just,  ardent  as  an 
apostle,  simple  as  a child.” 

One  word  more.  The  State,  realising  only  on  the  eve  of  his  death 
the  magnitude  of  Millet’s  genius,  had  resolved  to  commission  him  to 
decorate  the  Chapel  of  Sainte-Genevieve  in  the  Pantheon.  At  this 
Millet  was  profoundly  happy  : but  Death  would  not  grant  that  the 
great  painter  of  the  shepherds  should  retell  the  touching  story  of 
the  sublimest  of  shepherdesses.  Puvis  de  Chavannes  it  was  who 
was  then  chosen.  It  is  perhaps  unique  in  the  history  of  art  that 
out  of  such  a loss  should  spring  such  consolation. 

Arsene  Alexandre. 

m xiv 


THE  ETCHINGS  OF  J.  F.  MILLET. 
By  FREDERICK  KEPPEL. 


HE  finished  original  etchings  done  by  Jean- 
Fran9ois  Millet  are  only  thirteen  in  number. 
Besides  these  we  have  from  his  hand  some 
eight  minor  prints,  which  can  hardly  be  called 
pictures  at  all,  but  are  merely  what  the  French 
call  griffonnements , or  experimental  scribblings 
done  on  a copper  plate  with  the  etching 
needle  or  the  drypoint,  similar  in  character  to 
those  which  Rembrandt  himself  sometimes 
took  a fancy  to  execute.  Millet  also  tried  his  hand  at  both 
lithography  and  wood-engraving.  The  three  lithographs  which 
he  has  left  us  are  finished  compositions  ; and  one  of  these, 
Le  Semeur — a man  sowing  grain  in  a field — ranks  as  one  of  his 
finest  prints. 

In  wood-engraving  Millet  confined  himself  to  experimenting  with 
the  tools  upon  the  wood  block ; and  the  fine  woodcuts  often  ascribed 
to  him  were  in  reality  engraved,  from  his  design  and  under  his  direct 
guidance,  by  one  or  the  other  of  his  two  brothers,  Pierre  or  Jean- 
Baptiste  Millet.  He  had  the  intelligence  to  perceive  that  the  laboured 
and  over-elaborate  woodcuts  of  his  own  day  were  no  more  than 
inadequate  imitations  of  engravings  on  copper  or  steel,  and  so  he 
brought  back  wood-engraving  to  the  broad  and  bold  simplicity 
which  had  been  so  triumphantly  practised  by  Albert  Diirer  three 
centuries  before. 

Still  another  process  which  Millet  tried  for  the  purpose  of  multi- 
plying prints  from  his  original  design  was  heliography.  Corot  and 
Daubigny  also  practised  the  same  method.  The  artist  drew  his 
design  upon  a piece  of  glass  which  had  been  rendered  opaque  by 
means  of  a black  varnish  covered  with  powdered  white  lead. 
Duplicates  of  the  design  were  made  in  the  same  way  in  which  a 
photographer  prints  from  his  negative,  and  the  result  had  all  the 
characteristics  of  a photograph. 

If  this  were  not  an  illustrated  publication  it  would  here  be  in 
order  to  give  a detailed  description  of  each  of  Millet’s  etchings. 
Words  are  very  well  in  their  way,  but  in  a subject  like  the  present 
one  a little  pictorial  reproduction  of  some  etching  will  convey  more 
truth  to  the  reader  than  could  the  eloquent  “ word-painting  ” of 
John  Ruskin  himself.  The  illustrations  here  presented,  even  if  they 

m xv 


MILLET 


were  the  finest  ever  produced,  would  naturally  fall  short  of  the 
original  proofs  from  which  they  were  copied.  The  necessary 

reduction  in  size  of  some  of  the  etchings  is,  of  course,  a serious 
drawback  ; but  if  these  reproductions  were  in  every  respect  as  fine  as 
the  originals,  why,  each  copy  of  this  special  number  of  The  Studio 
would  be  cheap  at  a hundred  guineas  ! Admitting,  however,  these 
unavoidable  drawbacks  in  the  illustrations,  the  respectful  suggestion 
of  the  present  writer  to  the  reader  is  that  he  look  at  them.  If  they 
do  not  speak  convincingly  for  themselves,  as  being  thoroughly 
original  both  in  design  and  execution,  then  the  writer’s  attempt  at 
mere  verbal  description  and  comment  would  be  hopeless  indeed. 
Many  fairly  good  contemporary  etchings  are  neglected — and  justly 
neglected — because,  at  best,  they  are  no  more  than  disguised 
imitations  of  the  work  of  some  bigger  man.  A witty  reviewer 
once  characterised  an  exhibition  of  etchings  as  being  “ mainly 
penny-Whistlers,”  and  these  etchings  were,  for  this  reason,  of  no 
greater  value  than  a child’s  penny  whistle,  because  they  lacked  the 
supreme  quality  of  originality.  Such  an  imitator  was  well  charac- 
terised by  Dr.  Johnson  on  the  occasion  when  some  one  had  asserted 
that  the  writings  of  a certain  contemporary  poet  were  like  those 
of  John  Dryden  and  were  quite  as  fine.  “Sir,”  said  Dr.  Johnson, 
“ he  may  make  Dryden’s  report,  but  he  does  not  carry  his  bullet.” 
Now  both  the  detonation  of  Millet’s  gun  and  the  bullet  which  flew 
from  it  were  all  his  own.  We  may  or  we  may  not  admire  these 
etchings  of  his,  but  at  least  they  are  the  uninfluenced  expression  of 
his  own  honest  conception  and  vision. 

While  Rembrandt  seldom  or  never  etched  a composition  which  he 
had  painted,  or  painted  one  which  he  had  etched,  Millet’s  method 
was  quite  the  opposite.  When  an  artistic  conception  pleased  him 
he  often  utilised  it  in  various  “ moods  and  tenses,”  and  the  writer 
is  informed  by  a son  and  a daughter  of  the  master  that  several  of 
their  father’s  works  were  first  etched  and  the  design  afterwards 
repeated  in  aquarelle  or  pastel  or  in  oils.  With  regard  to  the  latter, 
it  is  well  known  that  Millet’s  habit  was  to  keep  his  paintings  in 
hand  for  years,  working  on  several  of  them  in  turn  according  to  his 
mood  for  the  time  being. 

The  eminent  American  author,  Mrs.  Schuyler  van  Rensselaer 
when  writing  on  this  same  subject,  says  : “ In  etching  a subject 
which  he  had  previously  painted  Millet  did  not  try  to  reproduce 
the  painting  ; he  merely  tried  to  give  fresh  expression,  with  a 
different  artistic  method,  to  a conception  already  once  expressed 
with  paint.  Each  etching  stands  on  its  own  merit  as  an  etching , as 
m xvi 


MILLET 


frankly  and  simply  as  though  no  painting  of  the  same  subject  were 
in  existence.  Millet’s  truly  artistic  nature  shows  itself  in  the  fact 
that  he  went  thus  about  his  work.  And  the  breadth  and  versatility 
of  that  nature  is  convincingly  proved  by  the  intrinsic  excellence 
of  these  etchings  in  conjunction  with  the  intrinsic  excellence  ot 
the  corresponding  pictures.  A man  who  had  given  his  whole  life 
to  etching  only,  who  had  never  thought  of  painting,  and  had  never 
cared  for  those  effects  proper  to  painting  and  not  to  etching,  could 
not  have  been  more  truly  and  markedly  a born  etcher  than  Millet 
showed  himself  to  be — few  though  were  the  plates  and  many  though 
were  the  canvases  he  worked  upon. 

“To  depend  upon  lines,  not  tones,  for  expression;  to  make  every 
line  ‘ tell,’  and  to  use  no  more  lines  than  are  absolutely  needed  to 
tell  exactly  what  he  wants  to  say  ; to  speak  strongly,  concisely  and 
to  the  point  ; to  tell  us  much  while  saying  little  ; to  suggest  rather 
than  to  elaborate,  but  to  suggest  in  such  a way  that  the  meaning 
shall  be  very  clear  and  individual  and  impressive — these  are  the 
things  the  true  etcher  tries  to  do.  And  these  are  the  things  that 
Millet  did  with  a more  magnificent  power  than  any  man,  perhaps, 
since  Rembrandt.  Other  modern  etchings  have  more  charm  than 
his — none  have  quite  so  much  feeling.  Others  show  more  grace 
and  delicacy  of  touch — none  show  more  force  or  certainty,  and  none 
a more  artistic  ‘economy  of  means.’  Compare  one  of  these  prints 
with  the  corresponding  picture,  and  you  will  feel,  more  deeply  than 
ever  before,  how  much  more  important  was  the  intellectual  than  the 
technical  side  of  Millet’s  art.” 

A well-known  painter,  in  speaking  of  Millet’s  etchings,  said  to 
the  writer  : “ I like  them  even  better  than  his  paintings  ; when 
he  was  painting  he  was  thinking  of  his  colour,  but  when  he  was 
etching  he  was  thinking  of  his  drawing”  ; and,  as  in  music,  beau- 
tiful melody  must  ever  be  the  fundamental  germ  and  the  living  soul 
of  the  composition,  so,  in  the  making  of  a picture,  personal  and 
masterly  drawing  is  the  essential  sine  qua  non. 

The  year  i860  was  a memorable  one  for  etching.  Millet  was  then 
doing  his  best  work,  Meryon’s  finest  plates  had  recently  been  etched, 
though  his  Rue  Pirouette  is  dated  i860.  Charles  Jacque’s  Grande 
Bergerie  was  done  in  1859,  and  such  masterpieces  as  Sir  Seymour 
Haden’s  By-road  in  Pipperary  and  the  Shere  Millpond , as  well  as  Mr. 
Whistler’s  Rotherhithe  and  his  portrait  in  drypoint  of  the  engraver 
Riault,  all  bear  the  date  of  i860.  In  Mr.  Whistler’s  case  this  date 
is  buttressed,  before  and  after,  by  the  Black  Lion  Wharf,  Bibi 
Lalouette  and  Bibi  Valentin , which  were  done  in  1859,  while  the 

m xvii 


MILLET 


famous  drypoint  The  Forge  is  dated  1 8 6 1 . In  the  year  i860,  Millet, 
Jacquemart,  Bracquemond,  and  Legros  were  all  in  the  prime  of  their 
power  as  etchers.  Gaillard  had  already  begun  his  admirable  original 
work  with  the  burin,  and  in  England  some  of  Samuel  Palmer’s 
beautiful  etched  landscapes  had  already  appeared. 

It  would  be  well  if  a historical  circumstance  connected  with 
Millet  could  be  set  right.  After  the  master’s  death  in  1875 
his  friend  and  biographer,  Alfred  Sensier,  sold  at  public  auction 
his  collection  or  Millet’s  works  at  an  immense  profit  on  the 
prices  which  he  had  paid  for  them.  Hence  arose  the  story  that 

Sensier  had  unmercifully  exploited  Millet,  taking  advantage  of  the 
artist’s  necessities.  It  is  quite  true  that  during  the  long  years  when 
Millet  was  glad  to  sell  his  pictures  at  any  price  however  small, 
Sensier  was  one  of  the  very  lew  who  had  the  intelligence  to  buy 
them.  But  the  writer  of  this  article,  being  deeply  interested  in  all 
that  concerns  Millet,  has  consulted  a son  and  a daughter  of  the 
master  on  this  question.  Monsieur  Charles  Millet,  the  Paris  archi- 
tect, frankly  states  that  his  father  always  gratefully  recognised  the 
sympathy  and  the  aid  of  Alfred  Sensier  ; and  his  elder  sister, 
Madame  Saignier,  who  was  a grown-up  woman  before  her  father’s 
death,  declares  that  Millet  taught  his  children  to  love  and  esteem 
Alfred  Sensier  “ next  after  le  bon  DieuT 

In  the  city  of  Cork  the  Irish  driver  of  a jaunting-car  was  agreeably 
surprised  when  the  gentleman  who  had  hired  him  also  gave  him  a 
helping  hand  with  a heavy  trunk.  “ A little  help  is  betther  than 
a power  o’  pity,  sorr,”  is  what  the  Irishman  said.  Millet  sorely 
needed  help.  Some  who  could  have  helped  him  merely  pitied  him, 
and — like  the  priest  and  the  Levite  in  the  parable — “passed  by  on 
the  other  side.”  It  Sensier  was  only  a Samaritan,  he  was  a Good 
Samaritan,  because  he  helped  the  man  who  had  “ fallen  among 
thieves.” 

Frederick  Krppel. 


m xviii 


MILLET 


CRAYON  STUDY 
“A  SIESTA” 


(British  Museum) 


M i 


MILLET 


CRAYON  STUDY 
“ THRESHING  ” 


M 2 


(British  Museum) 


MILLET 


CRAYON  STUDY 
“THE  STILE” 

M 3 


[Carfax  and  Co.,  London) 


CRAYON  STUDY 
“ POTATO  PLANTING ” 


THE  HAPPY  FAMILY.”  from  the  drawing  by  J.  F.  MILLET. 

{By  permission  of  Mr.  E.  Van  IVisselingh.) 


MILLE 


CRAYON  STUDY 

“THE  POTATO  HARVEST’ 


MILLE' 


CRAYON  STUDY 

‘‘WOMAN  PASTURING  A COW’ 


MILLET 


(Cottier  and  Co.,  New  York  and  London) 


MILLET 


( Cottier  and  Co.,  New  York  and  London) 


1 TH  E BATHER.”  FROM  THE  DRAWING  BY  J.  F.  MILLET. 


MILLI 


(i Cottier  and  Co.,  New  York  and  London) 


MILLET 


CRAYON  STUDY 
“CALLING  IN  THE  HERD 


M IO 


( Cottier  and  Co.,  New  York  and  London) 


MILLET 


CRAYON  STUDY 
“ LOADING  " 


(Cottier  and  Co.,  New  York  and  London) 


M II 


M1LLE 


Pi 


O = 

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(Cottier  and  Co.,  Neiv  York  and  London) 


MILLE 


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u - 


(Cottier  and  Co.,  New  York  and  London ) 


MILLET 


CRAYON  STUDY 
u WASHING  DAY 


M 14 


( Cottier  and  Co.,  New  York  and  London) 


MILLET 


#1  44^ 


CRAYON  STUDY 
“ LE  POT-AU-FEU  ’ 


( Cottier  and  Co.,  New  York  and  London ) 


M i 


MILLET 


CRAYON  STUDY 
“GIRL  CHURNING” 


M 16 


(Cottier  and  Co.,  New  York  and  London) 


“ LA  vSOUPE.”  FROM  THE  ETCHING  SECOND  STATE  BY  J.  F.  MILLET. 


(Lent  by  Messrs.  Obach  & 


MILLET 


CRAYON  STUDY 

{Braun,  Clement,  Paris)  “ FIRST  STEPS  ” 


MILLET 


CRAYON  STUDY:  “A  LITTLE  SHEPHERDESS’’  CRAYON  STUDY:  “CARRYING  MILK 

(A.  van  IVissehngh,  the  Dutch  Gallery , London)  M 21  ( Sensier's  “ Jean  Francois  Millet")  M 2.1 


CARDING  WOOL.”  FROM  THE  ETCHING  BY  J.  F.  MILLET 


MILLET 


CRAYON  STUDY:  “A  LESSON  IN  KNITTING”  CRAYON  STUDY:  “ MOTHER  AND  CHILD 

{£.  ran  Wisselingh,  London ) M 23  (E.  van  IVisselingh,  London)  m 24 


MILLET 


CRAYON  STUDY 
“PH^BUS  ET  BORfeE” 

( Collection  of  M.  Henri  Rouart)  M 25 


MILLET 


CRAYON  STUDY 
“ WINNOWING  ” 

M 26 


( Collection  of  IV.  Pitcairn  Knowles,  Esq.) 


MILLET 


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£ 

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2 

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( Cottier  d-°  Co.,  AVw  For,£  owa?  London ) M 27 


srtioio 


MILLET 


MILLET 


(Braun,  Cttmcnt,  Paris) 


MILLET 


[Hanover  Gallery,  London) 


MILLET 


OIL  PAINTING 

“PARISH  CHURCH  AT  GREVILLE 


MILLET 


{Braun,  Clement,  Paris. 

Original  in  the  Louvre ) 


MILLET 


OIL  PAINTING,  1867-69 
“THE  PIG-KILLERS” 
m 33 


MILLET 


OIL  PAINTING,  i860 
“THE  NESTLINGS’’ 


{Musi e de  Lille.  Photograph  by 
Braun , Cttment,  Paris) 


M 34 


MILLET 


VV/VULCb' 

CRAYON  STUDY:  “(EDIPUS  BEING  TAKEN  OIL  PAINTING:  “CED1PUS”  (1847) 

DOWN  FROM  THE  TREE” 

[From  the  Sketch  in  the  Collection  of  Morley  Pegge,  Esq.)  M 35  [From  Ed.  Hidonin's  Etching  after  the  Original  Picture)  M 36 


GLEANING.”  from  the  etching  second  state  by  J.  F.  MILLET. 


MI  I.  LEI 


OIL-PAINTING  (1859):  "DEATH  AND  THE  WOODMAN.”  FROM 
(Iomdes  Bequest,  South  Kensington)  E'  HED°UIN’S  ETCHING  AFTER  THE  ORIGINAL  PAINTING 

m 37 


MILLET 


m 


OIL-PAINTING:  “ DRAWING  WATER” 
FROM  E.  BRACQUEMOND'S  ETCHING 
AFTER  THE  ORIGINAL  PICTURE 

M 38 


(SociiW  Anonyme  des  Gaieties  Georges  Petit,  Paris) 


MILLET 


OIL-PAINTING:  “ PEASANT  WOMAN 
SPINNING.”  FROM  BEN  DAMMAN'S 
ETCHING  AFTER  THE  ORIGINAL 
PICTURE 


{Socidtt  Anonyme  des  Galenes  Georges  Petit,  Paris) 


m 39 


FROM  F.  BRACQUEMOND’S  ETCHING  “THE  LAMB”  FROM  F.  BUACQUEMONDS  ETCHING  “SPRINGTIME” 

AFTER  THE  ORIGINAL  DRAWING  AFTER  THE  ORIGINAL  PICTURE 

( Socii'td  Anonyme  dcs  Galeries  Georges  Petit)  m 40  (SocitHi’  Anonyme  des  Galeries  Georges  Petit ) m 41 


MILLET 


MILLE' 


OIL-PAINTING:  “THE  SHEPHERDESS” 
FROM  BEN  DAMMAN’S  ETCHING  AFTER 
THE  ORIGINAL  PICTURE 

Society  Anonyme  dcs  Galei'ics  Georges  Petit)  m 43 


MILLET 


“WOMAN  SEWING”  FROM  millet’s  ORIGINAL 

ETCHING,  1855 

m 46  (Frederick  Kcppcl,  New  York  and  London) 


“A  YOUNG  SHEPHERDESS”  FROM  F.  BRACQUEMOND’S  ETCHING 

AFTER  THE  ORIGINAL  DRAWING 

(Societo  Anonyme  dcs  Galeries  Georges  Petit ) 


m 47 


J f /fCilt. 


“SHEPHERDESS  SEATED.”  drawn  on  the  wood  by  MILLET,  and  engraved  by  his  brother,  JEAN  BAPTISTE. 

(By  permission  of  Mr.  Frederick  k'epp/c. ) 


MILLET 


ORIGINAL  ETCHING  (1863) 
“ PEASANTS  STARTING  FOR 
WORK.”  THIRD  STATE 

M 50 


(Frederick  Keppel,  New  York  and  London) 


MILLET 


ORIGINAL  ETCHING  (1868-69) 

“ SHEPHER D-G IRE  SPINNING” 


( Collection  cf  Dv.  T.  IV.  T.  Lawvcnrc) 


M 51 


MILLET 


MILLET 


“ TRIAL  SKETCHES  FROM  THE  ORIGINAL  ETCHING 

M 55 


“THE  TWO  COWS 

M 56 


FROM  THE  ORIGINAL  ETCHING,  FOURTH  STATE 


MILLET 


FROM  THE  ORIGINAL  DRY-POINT, 
1849.  SECOND  STATE 


“SHEEP  AND 


COW  GRAZING” 


M 57 


FROM  THE  ORIGINAL  TRIAL  PLATE  “THE  SEAWEED  GATHERERS” 

M 58 


MILLET 


ORIGINAL  ETCHING  (1856) 
“THE  VIGIL” 


M 59 


( British  Museum) 


StUDIO 


MILLET 


PEN  DRAWING 
“ MOTHER  AND  SON  ” 


(Collection  of  IV.  Pitcairn  Knowles,  Esq.) 


M 6o 


MILLET 


“DIGGER  RESTING” 


From  the  Original  Etching 


M 61 


{Collection  of  Dr.  T.  W.  T.  Lawrence 


) 


'Vv  ■ 


THE  PEACE-MAKER” 


From  the  Water-  Colour  Sketch 
( The  Autotype  Co.,  New  Oxford  Street , London ) 


M 62 


MILLET 


{louides  Bequest , South  Kensington) 


WATER-COLOUR  : 


“ LANDSCAPE  STUDY 

M 64 


MILLET 


HELIOGRAPH  ON  GLASS 
“GIRL  DRAWING  WATER 

M 65 


(, British  Museum ) 


MILLET 


MILLET 


MILLET 


MILLET 


WOODCUT:  “MOWING”  WOODCUT:  “RAKING” 

{Drawn  by  Millet  on  the  Wood.  {Drawn  by  Millet  on  the  Wood . _ 

Engraved  by  Adrien  Lavieille)  M 72  Engraved  by  Adrien  Laviei lie)  M 73 


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illuslra l't o n 


I See  Pfos  pec  iv  s 

UNDER  FAVOUR  OF  HER  MAJESTY  QUEEN  ALEXANDRA 
Principal  : Mr.  FRANK  SPENLOVE  SPENLOVE,  R.C.A.,  R.B.A.  — Painter  of  “ FUnerailles  dans  les  Pays  Bas  un  joui 

d’hiver,”  which  received  Gold  Medal  at  the  Paris  Salon  and  was  purchased  by  the  French  Government  for  the  Musee  du  Luxembourg;,  1901. 
Special  Costume  Lije  Classes  are  held  at  the  School  and  Private  Instruction  L given  by  Mr.  Spenlove  Spenlove  at  his  London  Studio. 

and  Lessons  by  Correspondence. 


AD.  XVII 


A NEW  AND  SUPERB  WORK 

FROM  THE  OFFICES  OF  “THE  STUDIO” 


Representative  Art  of  Our  Time 

TO  BE  COMPLETED  IN  EIGHT  MONTHLY  PARTS 


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EXAMPLES  OF  THE  WORK  OF  THE  LEADING  GRAPHIC  ARTISTS  OF 
THE  PRESENT  TIME.  MANY  OF  THE  ILLUSTRATIONS  HAVE  BEEN 
EXPRESSLY  PREPARED  FOR  THIS  PUBLICATION 


ORIGINAL  ETCHINGS,  ORIGINAL  LITHOGRAPHS 

ORIGINAL  WOOD-ENGRAVINGS 
PASTELS,  WATER-COLOURS,  OIL-PAINTINGS 

MONO  I YPES,  SILVER  AND  GOLD-POINTS 

WILL  ALL  BE  REPRESENTED 


CONTENTS  OF  PART  I 


TITLE  PAGE 

ESSAY  ON  “WOOD-ENGRAVING” 

By  CHARLES  HIATT 
ETCHING.  “St.  Germain  L’Auxerrois."  An  original 
Plate  expressly  produced  for  this  Work 

By  EDGAR  CHAHINE 
MONOTYPE  IN  COLOURS.  “ The  Road  by  the  Pond  ” 
Expressly  produced  for  this  Work 

By  ALFRED  EAST,  A.R.A. 


PASTEL.  “ The  Kid  Glove.”  Prom  the  original  Study 

By  E.  AMAN-JEAN 
WOOD-CUT.  “The  Old  Bridge."  From  the  Wood- 
block By  W.  O.  J.  NIEUWENKAMP 

TINTED  CHALK  DRAWING.  “Riverside  Attrac- 
tions, Paris.  ” Expresslv  produced  for  this  Work 

By  G.  DUPUIS 

WATER-COLOUR.  “A  Sail!"  Prom  the  original 
Drawing  By  JOSEF  ISRAELS 


CONTENTS  OF  PART  II 

PASTEL.  “London  Bridge— Sunday  Morning  " 

By  PRANK  BRANGWYN 

OIL-COLOUR.  “Fleet  Street  " 

By  HERBERT  MARSHALL 

PASTEL.  “ Breton  Children  ” 

By  L.  LEVY-DHURMER 

«„*  Original  Etchings  by  Alphonse  Legros,  D.  Y.  Cameron. 
Joseph  Pennell,  Fred  Burkidge,  with  others  to  be  hereafter 
specified,  will  appear  in  future  numbers  of  this.  work. 

*..*  in  order  to  keep  the  prints  from  abrasion  and  to  avoid  the  inconvenience  of  tissue  paper,  each  plate  is  placed 
between  a double  sheet  of  thick  cartridge  paper  in  the  manner  adopted  by  Collectors.  By  this  means,  the  pimts  with  their 
separate  covers  may  be  readily  detached,  if  desired,  from  the  outer  wrappei  s. 


ORDER  FORM 


AN  ARTICLE  ON  LITHOGRAPHY 

By  JOSEPH  PENNELL 

And  the  following  Illustrations 

MEZZOTINT.  “The  Bather" 

By  MAX  PIETSCHMANN 

WATER-COLOUR.  “ Milan  Cathedral" 

By  ALBERT  GOODWIN,  R.W.S. 
SANGUINE  DRAWING.  “Study  of  a Mead  " 


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AD.  XV11I 


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